The Evolution of Sonata Form in the Wind Music of W.A. Mozart Brian Alber Fall 2005 Music 923 Brian Alber Fall 2005 Music 923.

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The Evolution of Sonata Form in the Wind Music of W.A. Mozart Brian Alber Fall 2005 Music 923 Brian Alber Fall 2005 Music 923

Mozart’s Wind Music  Early Divertimenti  Divertimento in Bb Major K. 186 (1773)  Divertimento in Eb Major K. 166 (1773)  Tafelmusik Series  Divertimento in F Major K. 213 (1775)  Divertimento in Bb Major K. 240 (1776)  Divertimento in Eb Major K. 252 (1776)  Divertimento in F Major K. 253 (1776)  Divertimento in Bb Major K. 270 (1777)  Serenades  Serenade in Bb Major K. 361 ( )  Serenade in Eb Major K. 375 (1781)  Serenade in C minor K. 388 (1782)  Early Divertimenti  Divertimento in Bb Major K. 186 (1773)  Divertimento in Eb Major K. 166 (1773)  Tafelmusik Series  Divertimento in F Major K. 213 (1775)  Divertimento in Bb Major K. 240 (1776)  Divertimento in Eb Major K. 252 (1776)  Divertimento in F Major K. 253 (1776)  Divertimento in Bb Major K. 270 (1777)  Serenades  Serenade in Bb Major K. 361 ( )  Serenade in Eb Major K. 375 (1781)  Serenade in C minor K. 388 (1782)

Early Divertimenti  Composed in Milan  Instrumentation  2 oboes, 2 English horns, 2 clarinets, two French horns, 2 bassoons  Composed in Milan  Instrumentation  2 oboes, 2 English horns, 2 clarinets, two French horns, 2 bassoons

Other works from 1773  Exsultate, jubilate (prem. In Milan)  Symphony No. 25 in G minor K. 183  Exsultate, jubilate (prem. In Milan)  Symphony No. 25 in G minor K. 183

Divertimento in Eb Major K. 186  I. Allegro assai  II. Menuetto  III. Andante  IV. Adagio  V. Allegro  I. Allegro assai  II. Menuetto  III. Andante  IV. Adagio  V. Allegro

K. 186-Form  A (Exposition)  1-12 Primary Theme (Bb)  Secondary Theme (F)  Cadential Material  B (Development)  Primary Theme  A (Recapitulation)  Secondary Theme (Bb)  Cadential Material  58-end Primary Theme (Bb)  A (Exposition)  1-12 Primary Theme (Bb)  Secondary Theme (F)  Cadential Material  B (Development)  Primary Theme  A (Recapitulation)  Secondary Theme (Bb)  Cadential Material  58-end Primary Theme (Bb)

Sonata form  Binary  Based on tonal relationships  Tonic-Dominant  Dominant-Tonic  Binary  Based on tonal relationships  Tonic-Dominant  Dominant-Tonic

Binary vs. Ternary 1) even when a sonata form has three clear sections, and the third is thematically a complete recapitulation of the first, these two sections are harmonically absolutely different: the first moves from harmonic stability to tension and never ends on the tonic, while the third is a resolution of the harmonic tensions of the first and, except for subsidiary modulations, remains essentially in the tonic throughout;

Binary vs. Ternary  2) the middle section of a sonata is not simply a contrast to the outer ones, but a prolongation and a heightening of the tension of the opening section as well as a preparation for the resolution of the third. The essentially static design, spatially conceived, of ternary form is replaced by a more dramatic structure, in which exposition, contrast and reexposition function as opposition, intensification and resolution.  Charles Rosen, Sonata Forms  2) the middle section of a sonata is not simply a contrast to the outer ones, but a prolongation and a heightening of the tension of the opening section as well as a preparation for the resolution of the third. The essentially static design, spatially conceived, of ternary form is replaced by a more dramatic structure, in which exposition, contrast and reexposition function as opposition, intensification and resolution.  Charles Rosen, Sonata Forms

Reverse Recapitulation  The rarity of this form (reverse or mirror) after 1780 marks an important change in sonata style between the 1750 ’ s and the 1780 ’ s. It is not so much that recapitulations beginning with the first theme had practically become the rule rather than on the most common form, but that a direct correlation between the thematic and tonal structures is now made possible by the new conception of the theme as the bearer of highly individualized and immediately identifiable interlocking motifs.  Charles Rosen, Sonata Forms  The rarity of this form (reverse or mirror) after 1780 marks an important change in sonata style between the 1750 ’ s and the 1780 ’ s. It is not so much that recapitulations beginning with the first theme had practically become the rule rather than on the most common form, but that a direct correlation between the thematic and tonal structures is now made possible by the new conception of the theme as the bearer of highly individualized and immediately identifiable interlocking motifs.  Charles Rosen, Sonata Forms

Divertimento in Eb Major K. 166  I. Allegro  II. Menuetto  III. Andante grazioso  IV. Adagio  V. Allegro  I. Allegro  II. Menuetto  III. Andante grazioso  IV. Adagio  V. Allegro

K. 166-Form  A  1-8 Primary Theme (Eb)  9-25 Transition  Secondary Theme (Bb)  Closing Theme (Bb)  B  Primary Theme (Bb)  Transition  Secondary Theme (Eb)  Closing Theme (Eb)  105-end Cadential Material  A  1-8 Primary Theme (Eb)  9-25 Transition  Secondary Theme (Bb)  Closing Theme (Bb)  B  Primary Theme (Bb)  Transition  Secondary Theme (Eb)  Closing Theme (Eb)  105-end Cadential Material

Mozart Mottos  Descending chromatic lines  Meas. 18  Arpeggiated accompaniments  Bassoon in meas  Pedal Points  -meas  Diminished chords  Meas  Descending chromatic lines  Meas. 18  Arpeggiated accompaniments  Bassoon in meas  Pedal Points  -meas  Diminished chords  Meas

Tafelmusik Series  Written for Archbishop Colloredo  Served as dinner music or to aid in digestion  Hautboisten complement  2 oboes, 2 French horns and 2 bassoons  Written for Archbishop Colloredo  Served as dinner music or to aid in digestion  Hautboisten complement  2 oboes, 2 French horns and 2 bassoons

Other works from  Il re Pastore (1775)  Missa Brevis K. 220 (1775)  ‘Haffner’ Serenade K. 250 (1776)  Il re Pastore (1775)  Missa Brevis K. 220 (1775)  ‘Haffner’ Serenade K. 250 (1776)

Divertimento in F Major K.213  I. Allegro spiritoso  II. Andante  III. Menuetto  IV. Contradanse en Rondeau (Molto Allegro)  I. Allegro spiritoso  II. Andante  III. Menuetto  IV. Contradanse en Rondeau (Molto Allegro)

K. 213-Form  A (Exposition)  1-10 Primary Theme (F)  Transition  Secondary Theme (C)  B (Development)  (C)  A (Recapitulation)  Primary Theme (F)  Transition  64-end Secondary Theme (F)  A (Exposition)  1-10 Primary Theme (F)  Transition  Secondary Theme (C)  B (Development)  (C)  A (Recapitulation)  Primary Theme (F)  Transition  64-end Secondary Theme (F)

Divertimento in Bb Major K. 240  I. Allegro  II. Andante grazioso  III. Menuetto  IV. Allegro  I. Allegro  II. Andante grazioso  III. Menuetto  IV. Allegro

K. 240-Form  A (Exposition)  1-6 Primary Theme Part I (Bb)  7-13 Primary Theme Part II (Bb)  Transition  Secondary Theme (F)  Closing Theme (F)  B (Development)  (based on ST)  A (Recapitulation)  Primary Theme (Part II) (Bb)  Transition  Secondary Theme (Bb)  Closing Theme (Bb)  98-end Primary Theme (Part I) (Bb)  A (Exposition)  1-6 Primary Theme Part I (Bb)  7-13 Primary Theme Part II (Bb)  Transition  Secondary Theme (F)  Closing Theme (F)  B (Development)  (based on ST)  A (Recapitulation)  Primary Theme (Part II) (Bb)  Transition  Secondary Theme (Bb)  Closing Theme (Bb)  98-end Primary Theme (Part I) (Bb)

Sonatina Form  Often no bridge between theme groups  No development, simply transition between exposition and recapitulation  Frequently used in slow movements (2nd mvmt. K. 388)  Often no bridge between theme groups  No development, simply transition between exposition and recapitulation  Frequently used in slow movements (2nd mvmt. K. 388)

Divertimento in Eb Major K. 252  I. Andante  II. Menuetto  III. Polonaise (Andante)  IV. Presto assai  I. Andante  II. Menuetto  III. Polonaise (Andante)  IV. Presto assai

K. 252-Form  A (Exposition)  1-10 Primary Theme (Eb)  Secondary Theme (Bb)  B (Transition)  Transition  A (Recapitulation)  Primary Theme (Eb)  36-end Secondary Theme (Eb)  A (Exposition)  1-10 Primary Theme (Eb)  Secondary Theme (Bb)  B (Transition)  Transition  A (Recapitulation)  Primary Theme (Eb)  36-end Secondary Theme (Eb)

Divertimento in F Major K. 253  I. Theme and Variations (Andante)  II. Menuetto  III. Allegro assai  I. Theme and Variations (Andante)  II. Menuetto  III. Allegro assai

Divertimento in Bb Major K. 270  I. Allegro molto  II. Andantino  III. Menuetto  IV. Presto  I. Allegro molto  II. Andantino  III. Menuetto  IV. Presto

K. 270-Form  A (Exposition)  1-17 Primary Theme-Part I (Bb)  Primary Theme-Part II (Bb)  Transition  Secondary Theme (F)  Closing Theme/Cadential Material (F)  B (Development)  Primary Theme Part I and Closing Theme  A (Recapitulation)  Primary Theme-Part I (Bb)  Primary Theme-Part II (Bb)  Transition (shortened)  Secondary Theme (Bb)  Closing Theme/Cadential Material (Bb)  A (Exposition)  1-17 Primary Theme-Part I (Bb)  Primary Theme-Part II (Bb)  Transition  Secondary Theme (F)  Closing Theme/Cadential Material (F)  B (Development)  Primary Theme Part I and Closing Theme  A (Recapitulation)  Primary Theme-Part I (Bb)  Primary Theme-Part II (Bb)  Transition (shortened)  Secondary Theme (Bb)  Closing Theme/Cadential Material (Bb)

The Serenades  Composed in Vienna  K. 361 Munich and Vienna?  Harmoniemusik  2 oboes, 2 clarinets, 2 French horns and 2 bassoons  Composed in Vienna  K. 361 Munich and Vienna?  Harmoniemusik  2 oboes, 2 clarinets, 2 French horns and 2 bassoons

Divertimento  Diversion or recreation  Simple, not polyphonic  Often one player per part  Usually played outdoors  Served as background music (banquets and parties)  Usually 5-6 movements (dance quality)  Diversion or recreation  Simple, not polyphonic  Often one player per part  Usually played outdoors  Served as background music (banquets and parties)  Usually 5-6 movements (dance quality)

Serenade  Outdoor piece  Performed around 9:00 PM  Served as a greeting to a loved one  Movement structure  Sonata mvmt., 2 slow mvmts, 2 minuets, finale  Outdoor piece  Performed around 9:00 PM  Served as a greeting to a loved one  Movement structure  Sonata mvmt., 2 slow mvmts, 2 minuets, finale

Partita  Symphony for winds  Four movement structure corresponding to typical symphony  Symphony for winds  Four movement structure corresponding to typical symphony

Other works from  Concerto for Two Pianos K. 365 (1780)  Idomeneo re di Creta (prem. Jan 1781)  Die Enfurhrung aus dem Serail K. 384 (1782)  Haffner’ Symphony K. 385 (1782)  Concerto for Two Pianos K. 365 (1780)  Idomeneo re di Creta (prem. Jan 1781)  Die Enfurhrung aus dem Serail K. 384 (1782)  Haffner’ Symphony K. 385 (1782)

Serenade in Bb Major K. 361  I. Largo-Molto allegro  II. Menuetto-Trio 1-Trio 2  III. Adagio  IV. Menuetto-Trio 1-Trio 2  V. Romance  VI. Theme and Variations  VII. Finale  I. Largo-Molto allegro  II. Menuetto-Trio 1-Trio 2  III. Adagio  IV. Menuetto-Trio 1-Trio 2  V. Romance  VI. Theme and Variations  VII. Finale

K. 361-Form  1-14 Introduction  A (Exposition)  Primary Theme (Bb)  Transition  Secondary Theme (Primary) (F)  Closing Theme I (F)  Closing Theme II (F)  B (Development)  Secondary Theme  Primary Theme  Closing Theme  1-14 Introduction  A (Exposition)  Primary Theme (Bb)  Transition  Secondary Theme (Primary) (F)  Closing Theme I (F)  Closing Theme II (F)  B (Development)  Secondary Theme  Primary Theme  Closing Theme

K. 361-Form continued  A (Recapitulation)  Primary Theme (Bb)  Transition  Secondary Theme (Primary) (Bb)  Closing Theme I (Bb)  Closing Theme II (Bb)  Coda  Primary Theme material (from 37 and 38)  223-end Closing Theme II  A (Recapitulation)  Primary Theme (Bb)  Transition  Secondary Theme (Primary) (Bb)  Closing Theme I (Bb)  Closing Theme II (Bb)  Coda  Primary Theme material (from 37 and 38)  223-end Closing Theme II

Serenade in Eb Major K. 375  I. Allegro maestoso  II. Menuetto  III. Adagio  IV. Menuetto  V. Allegro  I. Allegro maestoso  II. Menuetto  III. Adagio  IV. Menuetto  V. Allegro

K. 375-Form  1-5 Introduction  A (Exposition)  6-24 Primary Theme (Eb)  Transition  Secondary Theme I (Bb minor)  Secondary Theme II (Bb Major)  Closing Theme (Bb Major)  B (Development  Transition  Introduction  Secondary Theme I  1-5 Introduction  A (Exposition)  6-24 Primary Theme (Eb)  Transition  Secondary Theme I (Bb minor)  Secondary Theme II (Bb Major)  Closing Theme (Bb Major)  B (Development  Transition  Introduction  Secondary Theme I

K. 375-Form continued  A (Recapitulation)  Primary Theme (Eb)  Transition  Secondary Theme I (Eb)  Secondary Theme II (Eb)  Closing Theme (Eb)  211-end Coda  Transition (from Development)  Introduction (elaborated)  232-end Secondary Theme I  A (Recapitulation)  Primary Theme (Eb)  Transition  Secondary Theme I (Eb)  Secondary Theme II (Eb)  Closing Theme (Eb)  211-end Coda  Transition (from Development)  Introduction (elaborated)  232-end Secondary Theme I

Serenade in C minor K. 388  I. Allegro  II. Andante  III. Menuetto in canone  IV. Allegro (Theme and Variations)  I. Allegro  II. Andante  III. Menuetto in canone  IV. Allegro (Theme and Variations)

K. 388-Form  A (Exposition)  1-9 Primary Theme (Part I) (C)  Primary Theme (Part II) (C)  Primary Theme (Part I) (C)  Transition  Secondary Theme (a twice) (Eb)  Secondary Theme (b twice) (Eb)  Closing Theme I (Eb)  Closing Theme II (Eb)  B (Development)  Primary Theme (meas. 5)  Primary Theme (part II)  Primary Theme (part II) (meas )  A (Exposition)  1-9 Primary Theme (Part I) (C)  Primary Theme (Part II) (C)  Primary Theme (Part I) (C)  Transition  Secondary Theme (a twice) (Eb)  Secondary Theme (b twice) (Eb)  Closing Theme I (Eb)  Closing Theme II (Eb)  B (Development)  Primary Theme (meas. 5)  Primary Theme (part II)  Primary Theme (part II) (meas )

K. 388-Form continued  A (Recapitulation)  Primary Theme (Part I) (C)  Primary Theme (Part II) (C)  Primary Theme (Part I) (C)  Transition (extended)  Secondary Theme (a twice) (C)  Secondary Theme (b twice) (C)  Closing Theme I (C)  217-end Closing Theme II (C) (hints of C Major)  A (Recapitulation)  Primary Theme (Part I) (C)  Primary Theme (Part II) (C)  Primary Theme (Part I) (C)  Transition (extended)  Secondary Theme (a twice) (C)  Secondary Theme (b twice) (C)  Closing Theme I (C)  217-end Closing Theme II (C) (hints of C Major)