Mozart Sonata K. 281 Analysis Essay

Section A’’ (mm. 51-65) repeats the MT with variation mostly in rhythmic changes leading up to the PAC in A♭ major at m. 66 where the coda (m. 66-73) begins. The coda essentially acts as a tonic expansion with some added 9ths to the dominant as seen in m. 67 and m.69. The piece works the V-I in a decrescendo to the final PAC in A♭ major in m. 73.

Section two marks the beginning of a different theme which is shown by the transition from a

sunrise theme of the development which is ‘y-y-x’ then ‘x-x-x-x’) and the fact the second melodic phrase of the sunrise theme is one bar longer. The development then continues again similarly to

When he returned to the piece in 1791, Mozart decided to change the key and the instrumentation of the piece. The key was changed from G major to A major and the instrument of choice was the basset clarinet in A. Stadler designed the basset clarinet. Compared to the current clarinet, the basset clarinet had a range that was 2 whole tones lower than a normal clarinet. Francoeur’s Diapason general gives tonal qualities of various clarinets and describes the G clarinet’s sound as “sweet, sad, and lugubrious” (Lawson, pg. 29). When describing the tonal quality of the A clarinet, it I said to have “a very sweet sound, [that it] much less somber than the G and with a great range” (Lawson, pg.

Broadly speaking, the first movement can be divided in to three pieces, each beginning with a version of what I have denoted A_0, the introduction to the piece inwhich motifs float around in a constant void, gaining energy, and morphing into musicalthemes. If we were to impose the sonata structure onto the piece, we would say that the three pieces are the exposition, development, and recapitulation. The exposition introduces two large thematic blocks separated by a transition that

Firstly, I will discuss the methods used in order to analyse the Form and Structure of the piece. The emphasis in analysis was often given to the form and structure of the piece, especially during the nineteenth century as this allows performers to gain knowledge more directly regarding the overall style of the piece. The sonata is composed in Sonata form and is separated into three movements, firstly the Grave- Allegro di molto e con brio movement, followed by the Adagio Cantabile middle movement and finally the Rondo Allegro movement. There are different meanings to the word structure in music, the first is to do with locating the different movements or the different sections of the piece and the second is to look at how the piece has been put

The formal structure of the first movement is sonata form. Not only is this evident in the title but it is very clear after an analysis of the piece has been done.

The term sonata was used during the Early Baroque to denote musical works to be played instead of sung (cantata). Sonatas were usually played by a small

As the exposition begins the piece starts in C major. In the primary theme, there is a triplet motive that is automatically established. In addition, the dotted rhythm of m. 3 is also motivic and used through the entire movement. Mozart uses very contrasting dynamics in the first couple of measures. The piece opens at forte, but then dies down to piano in m. 3 only to return to forte in m. 5. Mozart also uses silence at the beginning of the movement to emphasize how highly articulated the movement is. As the primary theme continues to be established m.9 introduces a march like quality to stress the

This work was composed during the Classical period, 1750- 1820. One aspect of the classical music style beign applied to this work includes the reoccurance of two or more contrasting themes. Another is the use of short and clearly defined musical phrases. Lastly, this piece, on a purely musical level, was simply more to hum along to. This type of melody took over the complex polyphony of the Baroque period.

In classical music, the structures emphasize more the grace of proportion and balance, moderation and control; polished and elegance in character with expressiveness and formal structure held in perfect balance. Furthermore, the forms do not vary as much as the Romantic era, they had forms like sonatas, symphonies etc. The melodic phrases are usually balanced and symmetrical made up of two phrases of the same length. For an example, in Mozart's Clarinet Quintet, the music is very symmetrical and well balanced, in a variation form. However, in Romantic music, they rather emphasize on the emotional content than trying to sound balanced and symmetrical, and expanded their use of forms and created new forms, like impromptu, ballade, etude, nocturnes etc,. Moreover, the melodies normally have either really long or short phrases, increased in range, but also increased in chromaticism. For example in Mahler's symphony no.1 in D major "Titan", we can see that except it is in a ABA form, the whole movement was not as symmetrical and well balanced as the Mozart, although it is in a variation form, the melodic phrases have increased in range, are either really long, for example in the first 18 bars, or really short, where the melody can be hardly seen in bar 134-137.

After a repeat of the exposition, the performance moves on to the development with the soft material from the second half of closing theme two. It begins a whole step higher than its first appearance and immediately begins to modulate. Eight bars later new arpeggiated material enters on a Bb7 chord, beginning a twelve bar chromatic bass line moving to C# right before measure 109. Here the opening theme enters, similarly a whole step higher than at the beginning. Hearing the principal theme in the wrong key is a sure sign of a false recapitulation, and the P theme is

Although a typical first movement form has features that are very close to a sonata form, the analysis shown in Appendix traces through the keys and theme areas with respect to the necessary T1, S1 etc terminology that invokes the "1st movement form" which is an extended version of a da capo aria-or a rounded binary form. However, presented below, is a rough guideline for seeing which measures would correspond to a sonata form outline:

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is

Mozart’s Requiem is “one of the most performed and studied pieces of music in history” (Stango, n.d.). The story behind the start of this piece begins with Count Franz von Walsegg, who commissioned a requiem mass for his wife Anna (who had passed away). Throughout his work on this piece, Mozart began to get so emotionally involved with the piece that he believed that he was writing a death mass for himself. Mozart died December 5, 1791, with only half of the Requiem finished (through Lacrimosa). Franz Xaver Süssmayr finished the Requiem based on Mozart’s specifications from notes and what he had already written. The completed work is dated 1792 by Süssmayr and was performed for the first time on January 2, 1793. Mozart’s intent for this