TABULAR VIEW OF THE STRUCTURE OF THE FIRST MOVEMENT OFMOZART'S G-MINOR SYMPHONY.
TABULAR VIEW OF THE STRUCTURE OF THE FIRST MOVEMENT OFMOZART'S G-MINOR SYMPHONY.
There is no slow introduction, as in Haydn's "Surprise" Symphony, but there is a short coda. A little detailed comparison with the Haydn movement will prove interesting. There is none of the rather meaninglesspassage work which Haydn uses in his transition from the first to the second theme; instead there is a subsidiary theme (measures 28-42) which in spite of its secondary formal importance is vigorous, strongly characterized music. Instead of an entirely new theme for conclusion (Haydn, 81-93) we find an adaptation of the characteristic rhythm of the first theme (72-88) fulfilling the function of conclusion theme—to emphasize the close of the first section of the movement—by harping constantly on the tonic and dominant chords. This adaptation of familiar matter to a new purpose is ingenious. The return to the first theme, after the development section, is beautifully managed. Over a held D in the bass, beginning at measure 160, the upper voices weave a gradually descending passage out of the motive of the first theme (three notes only). There is a slight retarding, a sense of decreasing momentum, until, with the unobtrusive entrance of the theme in measure 165, a new start is taken, and the recapitulation goes merrily onward. The apparently unpremeditated nature of this entrance (though of course it was carefully planned) is charming.
In the recapitulation, the subsidiary theme which first appeared at 28-42, enters at 191, and is made the subject of a considerable episode. It appears in the bass at 198. Note the sequence at 202-203, and 204-205. The second theme, on its second appearance (227), is not only put in the tonic key of G, but is changed from major to minor. This gives rise to an interesting change in its expression. Instead of being merely tender and ingenuous,as its first and major form was, it takes on now a certain air of mystery and of resignation or controlled pathos. The conclusion theme (260) is also now put into the minor mode. The coda is short, and contains first a final suggestion of the main subject of the movement, and the necessary cadences for closing it firmly in the home key.
This movement affords a remarkable example of Mozart's power to infuse endless variety into the details of his work, without ever impairing its coherence and fundamental unity. He shows here, in short, that remarkable fecundity of imagination, constantly subordinated to the demands of clearness and musical logic, which gives all his music a fascinating variety that never degenerates into miscellaneousness.
For convenience in analysis, we may briefly examine first the elements of variety and later the underlying unity (though it should be remembered throughout that in the work itself the two qualities are intertwined, so to speak, and affect us co-operatively). Thus in the capital matter of rhythm, for example, the real master of construction always takes care to maintain the unity of the fundamental meter with which he starts out, and builds up a variety of rhythms on this uniform basis by making different themes group the elementary beats in different ways: as Mozart, in this movement, keeps his measure of four quarter-notes throughout, but makes the rhythm of his first theme out of quarters and eighths, and that of his second theme largelyout of dotted halves and quarters.An actual change of measurein a new theme, such as we find in many modern composers, is often a sign of deficient mental concentration, a kind of incoherence in which variety is secured at the expense of unity. The true masters drive their unity and their variety, so to speak, abreast.
Note then in the first place, the contrasts between the three chief themes of the movement, viz.: the first theme, the subsidiary theme that does duty in the transition (28-42), and the second theme. Their rhythmic diversity may be noted at a glance in the following comparative table, in which the rhythm only of four measures of each theme is set down.
First.
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Subsidiary.
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Second.
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FIGURE XL.
A reference back to the first movement of the Haydn "Surprise" Symphony will show Mozart's advance in respect of rhythmical diversity.
A parallel advance in diversity of style is noteworthy. Haydn's movement is steadily homophonic in style, and grows somewhat monotonous for that reason. Mozart sets off against his homophonic exposition section a delightfully clean-cut and vigorous polyphonic passage foundedon the first theme in the development section of the movement (115-134), and another similar passage in the recapitulation (the new treatment of the subsidiary, 191-217.).
Again, Mozart uses skillfully the possibilities for variety opened up to the composer by modulation and setting off against one another of different keys. A radical and fascinating change of coloring is also obtained by transposing the second and conclusion themes, on their final appearance (227 and 260), from major to minor. They are thus exhibited, as it were, in a new light, while retaining their essential character sufficiently to be perfectly recognizable.
Underneath all this charming play of fancy, the fundamental plan of the movement is as clear as the outline of a mountain range under all the luxuriant foliage that clothes its slopes. This clearness of form is due chiefly to two causes, a fine logic in the use of themes, and a careful adjustment of keys. The closeness with which Mozart sticks to his thematic texts may in some cases at first sight escape us, but when we come to realize it through careful dissection, we cannot but be profoundly impressed by the intellectual grasp it indicates. Thus, the passage at measures 66-67 is not new, but is made from that of 48-49inverted. The conclusion theme (72-88) is not made from new matter, as is usual with Haydn, but is derived from the little three-note motive of the first theme. The entire development is wrought out of new manipulations of the same theme, as is also the coda. The longtransition in the recapitulation (191-225) is made entirely from the subsidiary. There is here, in a word, none of that "clattering of the dishes" between the courses. The economy of the master is everywhere observable; irrelevancies are excluded; there is no superfluity, no surplusage, no prolixity and wordiness. Every measure fulfils its purpose in the simplest and most direct way, and justifies its presence by its reference to the essential thematic ideas of the work.
Unity of key is secured by a careful observation of the main traditions of the sonata-form in the matter of the distribution of tonalities. The exposition shows the customary quality of key, tonic (G-minor) being contrasted with relative major (B-flat major).[30]The development, as we have already seen, exemplifies plurality of key. The recapitulation emphasizes throughout the home key of G-minor, thus ending the movement with the fitting impression of tonal unity. A glance at measures 38-42, 72-99, 134-138, 146-165, 221-225, and 260-307 will show how much pains Mozart has taken to emphasize his keys at all important points in the design. The emphasis, as in the case of Haydn, is superfluous for modern ears, but was very necessary for the audiences addressed by the early advocates of so complex a scheme of musical design.
Altogether then, we see in such a movement as the present, Mozart taking the sonata-form a step in advance of where Haydn had left it, and while preserving its essentialoutline, filling it with the wealth of detail which his luxuriant fancy suggested. Later it will become clear that he was thus preparing it for the still further elaboration of an even greater master of construction—Beethoven.
SUGGESTIONS FORCOLLATERALREADING.
D. G. Mason: "Beethoven and His Forerunners," Chapters V and VI. C. H. H. Parry: "The Evolution of the Art of Music," Chapter XI. E. Dickinson: "The Study of the History of Music," Chapters XXIV and XXV.W. H. Hadow: "Sonata Form."