janet salisbury - conscise analysis of mozart's 22 piano sonatas (1917)

The Enunciation, or Part I., consists oftwoSubjects,—a Principal or istSubject invariably inthe tonickey; anda Second Subject, thekeyof which up to the time ofBeethoven was almost invari

Shortand conciseanalysis oflUozart's t

3 1924 017 088 976

E^ Cornell University

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A SHORT AND CONCISE

MUS DOC DUNELM.

"Professor of ^Music, Ladies College, Che\le^hflTii

Price 1/6 Net.

London :

WEEKES & CO 14, Hanover Street, Regent Street, W.

COPYRIGHT.1917 BY WEEKES & CO

CONTENTS.

the various Forms I acknowledge my indebtedness to

various books, especially to Mr Stewart Macpherson's

excellent "Form in Music" (Joseph Williams, Ltd.),

from which I obtained much valuable information.

Janet Salsbury.

SHORT DESCRIPTION OF THE

SONATA FORM.

Alsocalled (i)First-Movement Form, (2) Symphony Form, (3)Allegro Form, (all so named because the First Movements of Sonatas,

Sonata-Symphonies, etc.,aremostfrequentlyconstructed onthis particular design),

and(4) formerly calledBinary Form, becausethe movement is founded on twosubjects

Sonata Form consistsofthree parts:

(i) A Enunciation orExposition

(2) B FreeFantasia orDevelopment, and

(3) A2. Recapitulation

The Enunciation, or Part I., consists oftwoSubjects,—a Principal

or istSubject invariably inthe tonickey; anda Second Subject, thekeyof

which up to the time ofBeethoven was almost invariably in the Dominant

have taken more liberty in the choice of key These two subjects, notbeing inthesamekey,are generallyconnected by means of a passage known

astheTransition, Connecting Episode or Bridge Passage TheTransition

may consist ofnew matter orbe formed from part of the Principal Subject

developmentof ideas in the Enunciation, thus presenting them in different

aspects to those alreadygiven, or (2) ofan entirely new episode,or (3) of

both Thematic Development and Episodical Matter

Professor Prout in his 'Applied Forms,' says "With Mozart's Sonata

mostlybe found intheFree Fantasia than witheither HaydnorBeethoven."

&

With regardtothe keysused, withthe exceptionthat the tonicis usually

avoided, thecomposerisentirely free in hischoice

In the Recapitulation, or Part III., the Enunciation is repeatedwith moreor less modification The Second Subject is transposed to the

tonic, butifanyirregularityofkey has occurredin thispart of the

Enuncia-tion, a corresponding key (or series of keys), is generallyfound in the Re

capitulation, the Transition being usually altered towards the endto effectthis change

A Coda, or 'Tail-Piece,' is sometimes added after the actual

Recapitulation ofthe subjects has ended

In the time of Haydn and Mozart, this often consisted of a mere

repetition of the Final Cadence, thus emphasizing the close; but from thetime of Beethoven, it has developed into a very important part of the

but by the development of ideas already heard, thus increasing the effect

bycarrying themusic toa higher climax both in regard toits emotionaland

Second Subject (usually in

dominant or other related

Transition

SecondSubject(tonic).

Coda

The Enunciation is,asarule, repeated

MODIFIED OR ABRIDGED SONATA FORM.

Is,asitsnameimplies,a modificationofSonata Form. Itconsistsof the

Enunciationand Recapitulation; the Free Fantasia being omitted

A Enunciation B FreeFantasia A2 Recapitulation.Principal Subject(tonic).

Transition

Second Subject (usually in

dominant orotherrelated

Omitted, >

sometimes a link (of

per-haps I bar) modulatingbacktothe tonic key

PrincipalSubject(tonic)

Transition

SecondSubject(tonic).

Coda

This Formisfrequentlyused forOpera Overtures, and forSlow

Move-ments of Sonatas, Symphonies, etc

The Enunciation is notrepeated

re-appearance; this part may therefore be described as an "Episode."

EpisodicalForm is somewhat similar to " Minuet and Trio" Form, but in

the latter the parts are divided into 3 distinct divisions, whereas in theformer the parts run one intoanother, and the design is of one continuous

movement.

This form is to be found in many types of movements, such as slow

A2 Re-statement.PrincipalTheme

Codausuallyadded

MINUET AND TRIO FORM.

Similar to Episodical Form, but the divisions are more strongly

Ternary Form; the Trio is similar as a rule in form, but contrasted incharacter andoften inkey

A Statement

OLDER OR SIMPLE RONDO FORM.

Design: A, B, A2, C,A3.

This primitive type of Rondo consists of a Principal Theme (A)— which must be heard at least three times— and Episodes (B, C) occurring

between each appearance of the theme The Episodes should be in

contrast, both in character and key to one another and also to the

main theme

In theearliest examples, the Episodes or Couplets onlyslightly differ

from themain theme

A PrincipalTheme(tonic).

B EpisodeI (relatedkey)

A2 PrincipalTheme(tonic).

C EpisodeII.,contrasting in character

and key to Theme andEpisodeI.

A3 PrincipalTheme(tonic)

Codafrequentlyadded

RONDO-SONATA OR MODERN RONDO FORM.

Older Rondo Form.

In its structure it consists, like Sonata Form, of two Subjects, aPrincipalandaSecond Subject,butin Rondo-Sonata Form,aftertheSecond

Subject has been heard, a return is made to the Principal Subject in thetonic key which ends the Enunciation, whereas in Sonata Form the

Enunciation ends with the Second Subject in the secondary key; this isthe chief mark of distinctionin the structure of thesetwo Forms.

Rondo-Sonata Form is similar to the Older Forminthefact that theyboth make a return to the Principal Subject (in tonic key) to end the

Enunciation or firstpartofthe movement Theydiffer, in thattheSecond

Subject in Rondo-Sonata Form recurs in Part III., whereas Episode I.,in

Older Rondo Form does notsorecur

RONDO-SONATA FORM.

A Part I. B PartII. A2 Part III.

A PrincipalSubject(tonic).

Transition

B SecondSubject,

(frequentlydominantkey.)

A2.PrincipalSubject(tonic).

A3 PrincipalSubject (tonic)

Transition.B2.SecondSubject(tonic).

A4.Principal Subject(tonic

Coda

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In course of timethissimple type of BinaryForm expandedintoa more

developed and important movementin which the cadence barsgrew intoa

Second Subject andin which was more freedomin the choice of key in the

secondhalf of the movement.

before itfinally passedinto Ternary Form,the chief principle remained thesame, namely, thatPart I.(A) representedastatement, and thatPart II.(B)represented a response andacertainamount ofcontrast tothis statement

SIMPLE TERNARY OR THREE-PART FORM.

A PartI.

ANALYSIS OF MOZART'S

TWENTY-TWO

SONATA No 1 (Pauer's Edition).

Edition—Cotta, No. 5. Peters, No. 16 Riemann, No 11

Thesmallfigures in brackets shew the beat, or portion of the beat, in

^9-57

A2 Recapitulation.Bars

58-69 70—74t 74(3)-99(3

ggC-S-ioo

PrincipalSubjectTransition

SecondSubjectCoda

Keys

C

Double barandrepeat Double barandrepeat

* Forother EditionsseeContents—p

PIANOFORTE SONATAS. 13

REMARKS.

A The Closing Section of the SecondSubject commencesat bar 3

1

(Enunciation), andatbar 92 (Recapitulation)

Thereisa veryshort Coda, which however adds a sense of finality tothe movement.

ANALYSIS.

A Enunciation B. FreeFantasia

Bars

28(-3)—42

A2 Recapitulation.Bars

43—5o(i)

SI -74PrincipalSubject

A TheClosing Section of the SecondSubject beginsatbar 26

(Enun-ciation) In the Recapitulation this section (bar 68'-°') commences with

figures from the Principal Subject, but concludesas in the Enunciation

—

there isno Coda.

ANALYSIS.

The numberingbegins from thefirst wholebar

Third movement. Allegro C major Sonata Form.

A Enunciation

lation the music is reproduced as far as bar 132; a Coda followswhich

treats of the second subject,and (which is not usual) concludes with the

figures employedinthe closing sectionof the Enunciation

SONATA No 2 (Pauer's Edition).

bar

Edition—Cotta, No. 6. Peters, No. 11 Riemann, No. 5.

Thesmallfiguresinbracketsshewthe beat,or portion of the beat, inthe

PIANOFORTE SONATAS. 15

REMARKS.

A The Closing Section of theSecondSubjectcommences atbar 21'3''

(Enunciation),andatbar s;'^'(Recapitulation) There is no Coda.

B The middle part of this movement consists merely of a passage

interpolated between Parts I.and III., which opens with reference to the

Principal Subject and modulates to Bfeminor,and from thence descends by

degrees to the Dominant of C minor, in which key a fragment of thePrincipal Subject is introduced just before the re-entry of the Principal

Subject in Fminor

ANALYSIS.

The numberingbeginsfrom the firstwhole bar

Third Movement. Presto, F major Sonata Form.

A Enunciation

Principal SubjectTransition

PIANOFORTE SONATAS.

ANALYSIS.

The numberingbegins from thefirst whole bar

Third Movement Rondo B?major Rondo-Sonata Form (see A)

90-ioi(')

(3) wtoi—114

appearance

ofPrincipalSubject

iKeys,

BI7

Bt?

REMARKS.

A The Second Part ofthis movement contains two Episodes with

PrincipalSubject appearingbetween thetwo

Episode I., bar 52, in G minor, consists of two parts, each beingrepeated

Episode II commencesatbar90 in Ei? major

Noticethatthe openingfigureof the Principal Subjectis inthe keyof

C minor, whichfigureis directlyrepeated a secondlowerin tonickey

B Bars 39"'—43*" are the Closing Section of the SecondSubject

C The twonotesinbars 88'*— 89attachedto theendofthe Principal

Subject change the key from the tonic to that of the sub-dominant, in

whichlatter thenew Episode enters

D Bars 136'"—140*" are the Closing Section ofthe Second Subject

SONATA No 4 (Pauer's Edition).

Edition—Peters, No. 9 Riemann, No. 9.

The small figures in brackets shew the beat, or portion of the beat,

in thebar,

Ada^o.

No.4-/?k^

tnfFirstMovement. Adaaio Ei?major

The "hybrid" character of this movement renders it impossible toaffixtoitany "set " form. It belongs to theTransition period betweentheoldBinary (as seenin someof the pieces byScarlattiand Paradies),andthe

Thefollowingis theA

The numberingbeginsfrom the firstwholebar

Third Movement. Allegro El;^Major Sonata Form.

A Enunciation

First Movement. Allegro G major Sonata Form.

A Enunciation

PIANOFORTE SONATAS. 21

REMARKS.

A The Second Subject consists of three Sections SectionI.,bar 41:Section II., bar 73*3';andtheClosingSection, bar g'j'^. The same divisiontakes placein the Recapitulation Thereisavery short'Coda.

SONATA No 6 (Pauer's Edition).

Edition—Cotta, No. 15 Peters, No. lo, Riemann, No. 14

The small figures in brackets shew the beat, or portion of the beat, in

Second Movement Rondeau enPolonaise Amajor Rondo-Sonata Form.

A PartI.

PIANOFORTE SONATAS. 2S

Variation VIII., which is again in the major mode,'and is built on the

opening figure in octaves which is taken from the first three notes of the

theme

Thechief pointsof interest in Variation IX.are thesyncopatedeffects,

and the canonic treatmentof the theme; the firsttime (bar4) the canonis

in similarmotion; thesecondtime (bar la^*)in contrary motion

Variation XI. is an example of "double" variations,—instead of therepeat ofeach part (bymeans ofdoublebars andrepeats),asecond variation

of eachpart precedes thefirst variation of the followingpart

The Tempo ischangedto Adagio, and thetheme ismuch ornamented.

Variation XII. is another example of "double" variations The

character of the theme isalteredby achange in the Tempoto Allegro, and

also bythechange totriple (5)time; a short Codaisadded

SONATA No 7, (Pauer's Edition).

Edition—Cotta, No. 11 Peters,No. 8 Riemann, No. 6.

The small figures in brackets shew the beat, or portion of the beat,

Second Movement Andante un pocoAdagio F major

Episodical Form (see A)

A PartI.

PIANOFORTE SONATAS. 25

REMARKS.

A The Second Subjectconsistsof three Sections

Section I., bar 39<-"; Section II, bar 58; and the Closing Section,

bar 77'"

In the Recapitulation the Second Subject consists of two Sections

Section I., bar 142'"; and Section II., bar 163 This Second Section is

extended, andleads straight into the re-appearance of the Principal Subject

at bar 189.

therepetition of the Second Subjectin tonic key, instead of thethirdentry

of the Principal Subject

SONATA No 8 (Pauer's Edition).

Edition—Cotta, No. 16 Peters, No. 7. Riemann, No. 16

The small figures in brackets shew the beat, or portion of the beat,

The numberingbegins fromthe firstwhole bar

Second Movement Andante cantabile con espressione

Sonata Form.

F major

A Enunciation

PIANOFORTE SONATAS. 27

SONATA No 9 (Pauer's Edition).

The smallfigures in brackets shew thebeat, or portion of the beat, inthe bar

Allegro conspirito

78(*)-99('l99—104

105—ri2

SecondSubject

(seeB)

PrincipalSubjectCoda

Keys

D

REMARKS.

bar 16'*; Section II., bar 24(""'; andthe ClosingSection, bar36

B This is an irregular Recapitulation, the Second Subject coming

before thePrincipal Subject

The Closing Section of the SecondSubjectishere omittedjthe Second

Section (bar87) leadingstraightinto the Principal Subject

ANALYSIS.

Modified Rondo-Sonata Form.

Gmajor

A PartI.

A The SecondSubjectconsistsoftwoSections SectionI., barle'"';Section II., commencingatbar 25 with afragment of thePrincipal Subject

The samedivision takes placein the Recapitulation

B There isno middlepart to thismovement; bars 50'*—52"'formalinkleading to PartIII

(transposed intothe tonickey) instead of the Principal Subject As there

isno middlepart, the third entryofthe Principal Subjectat the beginning

of PartIII isnot necessary

ANAI^YSIS.

The numberingbegins fromthe first wholebar

Third Movement Rondo D major 'Rondo-Sonata Form.

A Part I. B PartII. A2 Part III.

cipalSubject

intonickey

Keys

minorandG

Subject

Link leading

to

re-appear-anceof cipalSubject

Prin-A4 PrincipalSubjectAccessory bars

to PrincipalSubjectCoda

Keys

D

D

REMARKS.

A Section II. of Second Subjectcommencesat bar 56.

Bars 79'°'—83'" are closing bars tosame

IntheRecapitulationthe SecondSection commencesat bar 221

PIANOTORTE SONATAS. 29

SONATA No 10 (Pauer's Edition).

Edition—Cotta,No. 3 Peters, No. 2. Riemann, No. 4

The small figures in brackets shew the beat, or portion of the beat,

Part I is in Binary Form, and consists of twosentences The firstof

8 barsendingin dominantkey; thesecond of 12 barsending in tonickey

Part II isalso in BinaryForm, and consists of two sentences Thefirst of 8 bars beginning in F minor, and ending in the relative major (Aflat) ; the second, also of 8 bars, ending with Perfect Cadence in tonickey A Codaof 4barsisadded

Part III is similar to Part I. butwithoutrepeats A Coda of 4 bars,

founded ontheopening themeof Part II.,butinthe major mode, concludes

ANALYSIS.

Third Movement. Allegretto C major Sonata Form.

A Enunciation B FreeFantasia A2 Recapitulation

The samedivision takes place inthe Recapitulation

SONATA No 11; (Pauer's Edition).

The small figures inbracketsshew thebeat, or portion of the beat, in

thebar

Andantegrazioso

^p=£

PIANOFORTE SONATAS. 31

ANALYSIS.

FirstMovement Andantegrazioso Amajor Air withVariations

The "Air"or Themeisin Simple Ternary Form.

Bars 1—8 :||: 9—12 13—18 :||

In all the Variations the outline of the melody can easily be traced

theharmoniesarepractically thesame throughout

Ornamentation of thetheme isheardin VariationI. A triplet figurecharacterises VariationIJ In- Variation HI. the mode is changed from major to minor Theparts flow throughoutinsemiquavers

The change of Tempo to Adagio in Variation V.altersthe character

of the theme, whichisalsomuch ornamented.

In Variation VI.the characterof thethemeis alteredby thechange of

Tempo to Allegro and also in the change to C time A short Coda

concludes themovement.

ANALYSIS.

The bars at | la Volta {| 2a Volia | intheTrioarenumberedas523 and 52b

ANALYSIS.

Second Movement Menuetto andTrio A major and D major

Minuet andTrioForm.

A Menuetlo