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Mozarts Art of Retransition
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locates it at the point in the development where the modulation back to the home
key begins, often after strong cadential articulation, rather than at the later
connective dominant, by which time the home key has already been achieved.4
Beth Shamgar has shown how the tendency to associate the retransition with the
culminating dominant pedal arose in nineteenth-century theoretical writings as
a response to Beethovens practices, which, eschewing the medial cadential
articulation of earlier eighteenth-century development sections, often press
seamlessly toward the dominant arrival as the point of climax. (Poundie Burstein
estimates that the elaboration of this culminating dominant can occupy as much
as 30 per cent of some Beethoven developments.5) It is inevitable that the
shadow of Beethoven looms large in any discussion of retransitions, for the
temptation to treat his spine-tingling, mythic retransitions as archetypal of
returns in general, and to read this archetype back into music of an earlier time,
can be hard to resist.6 Yet countercurrents exist. Most notably, Michael Spitzer
has demonstrated a special double-retransition type in Haydn formal, then
informal which plays with old and new returning formulas; and Burnham also,
having done so much to elucidate the workings of the heroic construction, has
drawn attention to instances where the Beethovenian burden of return is
deflated, both in Haydn and in Beethoven himself.7 That Mozart too might have
a special way of returning can be gleaned from scattered comments in the
literature Charles Rosen notes how after K. 450 the return to the tonic is
generally one of the most gracefully accomplished, and often one of the most
memorable moments in Mozarts forms (1997, p. 208), and Elaine Sisman has
observed the directional descent that characterizes many of Mozarts preparations for the recapitulation (1993, p. 50) but nothing substantial has yet
coalesced.8
This last point in particular the construction of alternative retransition
narratives to the powerful heroic type will be developed further below. Fortunately, for now some of the technical aspects of retransition reception can be put
aside, since the kind of procedure considered here takes place emphatically in or
on the preparatory dominant and leads directly to the tonic of the reprise. If a
retransition can be described as a potentially multistage process whose function
is to return to the tonic (from a point of furthest remove if there is one, or from
the dominant if there is not), then we are interested in one of a small family of
procedures at the very end of such a process, involving what has come to be
called a standing on the dominant.
Generally speaking, three strategies can be identified in Mozarts music for
handling this standing on the dominant, although these categories are neither
exhaustive nor mutually exclusive. The first is characterised by a rising melodic
line, stepwise or arpeggiated, beginning on the root or third of the dominant
harmony and aiming at the chordal seventh, from which typically ensues an
Eingang into the reprise (Ex. 1a).9 Sometimes the ascending line is counterpoised by a descending line in an inner voice, a feature which often involves a
voice exchange with the rising line (Ex. 1b).
2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
(Eingang)
140
(Recapitulation)
145
paradigm:
(8
7)
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4
Ex. 1 Continued
(b)
51
(Eingang)
54
(Recapitulation)
Tempo primo
Tempo primo
paradigm:
(8
7)
of connotations and so far lacking any sustained treatment in the literature, its
effect is quite different from that produced by the first two strategies.
A simple illustration comes from the first movement of the Piano Concerto in
E , K. 482 (Ex. 3; the accompanying examples all include textural reductions).
After a couple of preliminary runs to mark the arrival on the dominant in bar 253
(inflected with the 65 motion of the second strategy described above), the
piano gathers itself for two bars (bars 257258) before the rest of the orchestra,
less the strings, enters for the final stage of the retransition. The characteristic
features of this retransition type are all here: the hushed dynamics, the descending line at the top of the texture (heard in this case in the flutes), the 23
suspensions (in the clarinets; suspensions here are measured against the top line
rather than against the bass), the leading notes in the bassoon and, in concerto
movements, the strand of figuration in the piano. In context, however, there is
more to this excerpt than meets the eye. In a witty take on the convention for
retransitions occasionally to anticipate elements of the impending recapitulation,
2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
(Recapitulation)
90
(Eingang)
[ ]
(b)
133
crescendo
crescendo
crescendo
crescendo
139
(Recapitulation)
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Ex. 3 Mozart, Piano Concerto in E, K. 482/i, retransition and beginning of recapitulation
(a) Bars 253272
253
Fl.
Cl. in B
Bsn
Hn in E
Tpt in E
Timp.
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
(descent)
257
Fl.
Cl. in B
Bsn
Hn in E
Tpt in E
Timp.
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
this stock retransition turns out to mimic one of the most striking and delightful
features of the opening theme: the learned descending-fifths sequence, with 23
suspensions, scored for horns and bassoon a connection cemented texturally
both through the stringless scoring of the retransition and through the bassoons
role in the counterpoint, which is identical in each case.10
Further examples from fast-tempo movements could be adduced see, for
instance, the first movement of the Jupiter Symphony or the contrapuntal dazzle
2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
Ex. 3 Continued
(Recapitulation)
261
Fl.
Cl. in B
Bsn
Hn in E
Tpt in E
Timp.
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
learned sequence
266
Fl.
Cl. in B
Bsn
Hns in E
Tpts in E
Timp.
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
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Ex. 3 Continued
(b) Reduction of retransitional descent
Fl.
Cl.
2
Bsn
Bsn
Ob.
Bsn
Hns
in G
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
69
Fl.
Ob.
Bsn
Hns
in G
Pno
Vn 1
3
Vn 2
Vla
Vlc.
Cb.
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10
Ex. 4 Continued
(descent)
(Reprise)
74
Fl.
Ob.
Bsn
Hns
in G
Pno
Vn 1
3
Vn 2
3
Vla
Vlc.
Cb.
71 Vn 1, 2
[
Vla, Vlc.
[
Cb.
75
Fl.
Ob.
Str.
Bsn
11
(b)
etc.
(c)
dominant pedal; in this form, these thirds typically either transfer a seventh down
an entire octave or begin closer to the goal, using only a few segments of thirds.
Ex. 5b staggers these thirds to form suspensions (as before, these will be referred
to as 23 suspensions).To the shorter of these suspension chains, Ex. 5c adds an
extra voice, which realises the possibility for the chain to form a descending-fifths
sequence. Although versions of the fifths sequence not derived from these
staggered thirds are sometimes used (76 suspensions occasionally predominate), it is this idiom which is often used at the very end of this retransition type.
Mozarts resourcefulness in drawing upon this family of techniques in ever
new combinations and guises is dazzling. Even in movements which contain
more than one such retransition, they are never presented in the same way twice.
For instance, the first retransition of K. 451 (Ex. 6) actually begins with a
descending-fifths sequence over a dominant pedal (the reduction suggests its
connection to the paradigm in Ex. 5c), followed by a plain octave transfer of the
chordal seventh in parallel thirds. If the two retransitions of K. 451 in fact share
genetic material each begins with a prominent reference to the neighbour notes
of the movements main theme, followed by an octave descent from the chordal
seventh it is the differences which tell here, most notably the sense of pacing.
The later retransition is three times the size of the first, with the octave descent
in particular transformed into an almost impossibly long exhalation.
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12
(descent)
35
Fl.
Ob.
Bsn
Hns
in G
(Reprise)
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
(b)
36
Fl.
Ob.
Bsn
Vlc., Cb.
13
56
Fl.
Ob.
Bsn
Hns
in F
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
2
60
( )
Fl.
Ob.
Bsn
Hns
in F
( )
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
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14
Ex. 7 Continued
4 (descent)
3
68
Fl.
Ob.
Bsn
Hns
in F
3
3
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
71
Fl.
Ob.
Bsn
Hns
in F
Pno
Vn 1
Vn 2
Vla
Vlc.,
Cb.
example of those extemporizations on A with which organists enable an orchestra to tune up before a concert (1970, p. 166); William Kinderman observes a
brief but weighty retransition in place of a development (2006, p. 211);12 and
Messiaen finds room in his programme notes to characterise what he calls a
2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
15
Ex. 7 Continued
(b) Reduction of descent
70
Fl.
Ob.
Bsn
wonderful transition, with piano figuration worthy of the most beautiful Etudes
of Chopin (1997, p. 197).13 Four stages can be identified in this retransition,
which happens to incorporate all three of the strategies outlined above for
standing on the dominant.The first stage is an ascent (bars 5963), aiming at the
chordal seventh (the large leaps in the piano are presumably to be fleshed out in
performance).14 The second stage (bars 6368) extends this V7 plateau, absorbing the effect of the arrival through different instrumental textures.15 The third
stage (bars 6870), which employs the common 565 fluctuation, also confirms and extends the rhythmic animation introduced in the piano a couple of
bars earlier, with arabesques in running triplet semiquavers.The fourth and final
stage (bars 7074) is the characteristic descent which we have been exploring.
Like that in K. 451, this one involves an octave transfer of a seventh, the final few
segments of which embody the circle-of-fifths pattern. But there is a subtle
aspect of variable pacing within this descent which is absent from K. 451, a sense
of compressing and elongating as the timing of the suspensions contracts, then
broadens at the very end (changes which are coordinated with the pianos
pattern of figuration). The subtlety of Mozarts craft here is revealed though the
observation that the upper-voice pattern begun in bar 70 could in fact have
continued all the way through to bar 74, ending exactly on time (Ex. 7c).What
would be lost in this simplified version is the descending-fifths pattern near the
end, which is achievable according to the time scale established in bar 70 only by
doubling the suspension rate in bar 72 exactly what Mozart does. The effect of
the syncopation in bar 73 (the elongation mentioned above) derives from its
ability to be seen as a natural result of this doubling process while being heard
against the backdrop projected from bar 70, according to which the seventh in
bar 73 arrives early. This illustration of what Leonard Meyer has termed coordination (see n. 8) shows Mozarts flexibility in handling these conventional
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16
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17
(Retransition)
52
pizz.
55
(Reprise)
coll arco
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18
Ex. 8 Continued
(b)
53
pedal points were usually so complex and performing errors so frequent that it was
better to play these passages tasto solo; and secondly, that under the fearsome
figures often lay a regular harmonic progression (the fundamental bass being a
particularly useful tool for showing this). In addition, even though, among the
major treatises of the eighteenth century, the signature 23 pattern of the
retransitions did not appear in print untilTrks Anweisung zum Generalbaspielen
of 1800, several authors noted the propensity for pedal points to yield a heightening of contrapuntal artifice (in part on account of its long-standing association
with fugal practice).21 Heinichen, for instance, observed that the term point dorgue
(a)
65
(b)
19
arose without doubt because it is very common to hold a note for a long time with
the pedal, and above it with both hands to make all kinds of variations [Variationes]
and foreign [fremde] syncopations (Heinichen [1728] 1969, p. 948).22 Trks
explanation of the pedal point was also rooted in counterpoint: [w]hen the bass,
especially before the close of a piece, holds the dominant or tonic for many bars,
while in the remaining [upper] voices various contrapuntal arts [Knste] are
displayed [angebracht ... werden], and, so to speak, packed together on a point
[Punkt], that is called in short as with so-called pedal points [Orgelpunkten]
(Trk 1971, p. 321).23 In addition, in his chapter on modulation in Die Kunst des
reinen Satzes, Kirnberger linked the pedal point specifically with tonal return,
although he did not appear to have had a formal retransition in mind: If the
composition is very long and the memory of the main key has been lost to some
extent by dwelling on other keys, one can use a so-called point dorgue on the
dominant before the final cadence, whereby the desire for the main key is notably
increased (Kirnberger 1982, p. 136).24
An alternative contextual framework for the retransition pattern can be found
within the eighteenth-century partimento tradition, our nascent understanding of
which has been boosted by Robert Gjerdingens recent study of galant schemata.25 In Gjerdingens terms, the retransition pattern is a contrapuntally
worked out variant of the ubiquitous Prinner schema (typically 6 5 4 3 in
the soprano, in parallel tenths with the bass). Dubbed the Stabat Mater on
account of a notable instance of it in the closing Amen of Pergolesis famous
work, the schema is characterised by its intricate 23 suspensions and properly
Ex. 9 Continued
73
80
73
20
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contains the distinctive inner-voice leading notes which we have frequently seen
in the bassoon parts in the examples above. (According to Gjerdingen, this tenor
voice is implicit in many partimento examples he adds it in own his realisations
and explicit in Bachs reworking of Pergolesis composition.) Indelibly marked
with a residue of high church music, the Stabat Mater frequently occurs over
a dominant pedal (as it does in Pergolesis model).26 Since Gjerdingen
approaches the pattern from the opposite direction to the route taken by this
study we began here with the phenomenon of the pedal point and its elaboration, while Gjerdingen starts with an outer-voice pattern which occasionally
acquires a pedal point our network of illustrations overlaps only in the middle.
He does not connect the pattern to retransitional procedures, for instance
(although his network does account for the prominence of 6 as a melodic starting
point). But the common ground reinforces the basic point: the fundamental
premises of partimento scholarship that the formulas drummed into composers
over their years of training were also familiar and audible to listeners, and that a
proper understanding of the most mundane aspects of composerly craft can shed
light on more exalted realms apply here, too.
Probably the most compelling pedagogical insight into the handling of these
pedals, however, comes from Mozart himself, literally the product of the relationship between a master and his pupil. Ex. 9 reproduces a passage for string
quartet from the Attwood Studies.27 Although this is not a retransition it is a
passage within the second key area which is shaping up for an important cadence
it illustrates well the treatment of a dominant pedal. Part (a) shows Attwoods
original version; Part (b) is Mozarts reworking, composition as commentary
(the bar numbers reflect the position of the passage in Attwoods larger movement).28 The basic plan of Attwoods version (which can be assumed to take
conceptual precedence) involves two phrases above the dominant pedal.The first
phrase, eight bars closing with an imperfect cadence, features a sequential
descent in the first violin, with imitation in the second violin. The second phrase
repeats the first an octave lower, but with a deceptive harmonic departure in the
fifth and sixth bars, which sets up a cadential 64 and a close on the local tonic two
bars later (Mozarts reworking does not include this final close).29 No more than
competent, Attwoods version contains little of interest beyond the imitation of
the two violins: the cello is completely static, its articulation seemingly haphazard, while the viola is simply filler, with little integrity or distinction. If the
Attwood passage seems almost sketch-like, Mozarts rendering, on the other
hand, sounds as though it were torn from a fully worked out piece. In the first
phrase, based on the familiar descending-fifths sequence, the imitation between
the violins is supple, the cello breathes and the viola participates fully. The
second phrase recomposes rather than repeats the first; the imitation is now
between second violin and viola, the sequence reclothed, new possibilities
revealed. Even the sustained cello in bars 7376, superficially identical to
Attwoods in articulation, emphasises the gulf between the two versions: in
Mozarts, as the upper voices move down an octave for the second phrase and the
2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
21
cresc.
simile
cresc.
cresc.
cresc.
1 7
52
55
imitation moves to the middle of the texture, there is a sense of going to the heart
of the passage, uncovering something within; the cello is the anchor.
As a glimpse into the composers workshop, and as a demonstration of Mozarts
prowess, this pair of examples is fascinating; one suspects the snippet did not take
Mozart long to write. And it is not hard to find real-life analogues situations
where this Attwood configuration of a long dominant pedal before a conclusive
cadence coincides with an apparently irrepressible urge to demonstrate. A striking
instance occurs in theTrio of the Quartet in B, K. 589 (Ex. 10).The reprise builds
6
to the final cadence via a drawn-out ii 5 chord, releasing finally into a glorious
dominant plateau, a huge expansion of what could based on the analogous point
in the first half of the movement have been a simple cadential 64 . With exuberant didacticism and full contrapuntal mastery, however, Mozart seizes the
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22
Ex. 10 Continued
58
61
64
Menuetto da capo
23
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24
Cadenza
Fl.
Cadenza
Ob.
Cadenza
Bsn
Cadenza
Sop.
[fa]
97
Fl.
Ob.
Bsn
Sop.
(b)
Sop.
92
Ob.
Fl.
[Sop.]
[Ob.]
Bsn
(64)
The point is reinforced most effectively through another illustration, this one
from the reprise of the slow movement of the Wind and Piano Quartet in E, K.
452. A series of diminished seventh chords ascends almost bewilderingly until, in
a moment of startling grace, the situation suddenly clarifies over a dominant
pedal, leading us safely to the coda (Ex. 13, bars 109113).The passage occupies
a formal position identical to that of the illustration from K. 589, and it shares
that examples strategic shattering of a template established earlier in the movement (bars 2732, themselves tinged with the diminished seventh sonority,
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Music Analysis 2011 Blackwell Publishing Ltd
25
Ob.
Bsn
Vn 1
Vn 2
Vla
Sop.
ctus est.
Et
Org.,
Vlc., Cb.
5
4
7
3
(b)
52 Ob.
Fl.
7 6
7 6
7 6
7 6
7 6
Bsn
provide the point of reference for bars 100113, showing how the cadence might
more simply be produced). Its affective quality, however, is from a different realm
altogether that of the retransitions.38
With these examples still reverberating, then, let us return to this original
stimulus, the retransitional pedal points. It is revealing that these spots should
become for Mozart a locus of complexity for complexity here is indeed more
than ostentation. The heightening of contrapuntal artifice, the proliferation of
active lines, means engagement, involvement; it yields a thickening or fullness.39
Counterpoint, which could suggest the mechanical or the faceless, actually
means quite the opposite. It suggests the human touch, manipulation: music
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26
Ex. 13 Mozart, Quintet in E for Piano and Wind, K. 452/ii, bars 104113
104
Ob.
Cl. in B
Hn in E
Bsn
Pno
107
Ob.
crescendo
Cl. in B
crescendo
Hn in E
crescendo
Bsn
crescendo
crescendo
Pno
(Coda)
110
Ob.
Cl. in B
Hn in E
Bsn
Pno
27
which has been worked on. Unlike retransitions which dissipate in a solo
Eingang or dwindle to a tense stand-off (as occurs in the first movement of the
Eroica Symphony), retransitions such as those from K. 503 or K. 451 envelop us,
carry us along. (The chordal seventh, whose gradual emergence we track and, in
a sense, identify with, usually folds into the middle of the texture upon resolution.) These retransitions suggest simultaneously the sensuous play of surface
and the tapping of depths, a welling up: the sense of surfeit or surplus which both
Burnham and Solomon frequently detect in Mozarts beautiful music.40
This extra engagement, or heightened awareness, can carry over into the
returns themselves. To be sure, the small flexions of the retransition, its tensing
and relaxing suspensions, and the complications of texture and counterpoint: all
this usually evaporates at the reprise, and the disparity is important. Strictly
speaking, then, the retransition is no longer with us.Yet its effect remains: just as
important as what returns is the manner of its returning. There may be elements
in the reprise which make this lingering impression manifest the extra insistence of the piano accompanied by horns in K. 503 (bars 7475), the melody in
octaves in the second reprise of K. 451 (bars 7780) but in fact there need not
be. A source of frustration only to our analytical proclivities, which insist on
treating mainly what we can read, we may not always be able to point to elements
on a page or sonic facts which correspond to this lingering effect; the residue of
these moments of great beauty remains within us, the effect of memory exerted
on the sounding present. In some cases, we may be able to say only that there is
a sense of nostalgia or regret, consolation or restoration, at these returns (for
Messiaen, these impressions permeate the slow movement of K. 451, which is
full of nostalgic tenderness, of an amorous dream mingled with regret, of lost
landscapes, eclipsed suns of which Mozart alone has the secret [Messiaen
1997, p. 183]).41
A valedictory example can show how this heightened awareness can be
demonstrably carried over into a reprise, but in a way which is perhaps more
subtle than it first appears. It comes from the slow movement of the Piano Trio
in B, K. 502. Like K. 451, this movement has two retransitions (shown in Exs 14
and 15), and, as in that other work, each finds a new way to compose the
distinctive descent. The first retransition, which folds into an unadorned reprise,
is more intricate; but our interest here is in the apparently simpler second
retransition, whose ensuing recapitulation seems imbued with a special quality.
At first glance, this appears reflective of the retransition in that it involves a lush
texture and an interplay of voices; and that is true enough. But what is really
poignant in the return what, with Roland Barthes, we might call the punctum
(Barthes 1981, p. 27), and what truly seems to continue the sense of the
retransition is the sound of the cello, at the top of its register. The fixation on
the cello part here is not because the cello reflects something really tangible of
the retransition, although it is possible that there is a subliminal connection of
the crunch of B, A and G at the downbeat of bar 86 to the suspensions of the
retransition (a connection reinforced by the realisation that the cello also retraces
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28
simile
(Reprise)
35
(b)
32
10
10
in bars 8587 at pitch the lineaments of the pianos upper voice in bars
8284). Nor is it because the sound of the cello was somehow foregrounded in
the retransition. Rather, it is because one of the things these retransitions do is
foreground the very quality of sound itself, attuning us to this particular aspect
of the musical experience. This too is one of the hallmarks of the beautiful in
Mozart. Speaking of moments of what she calls self-conscious beauty (1999, p.
288) in Cos, for instance, Mary Hunter notes the ways in which they seem to
draw attention to their sensuous surfaces and thus to the quality of the moments
2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
29
(Reprise)
83
86
(b)
82
82
30
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they enact.42 Likewise, the moments which have been considered here
undoubtedly some of the most beautiful in Mozart call attention to themselves,
both to the act of returning and to the quality of that act. And, perhaps paradoxically, this is the trace they leave on what follows.
Burnham was quoted earlier on how returning to the tonic is the easiest thing
in the world. He continues with a striking thought: that the challenge with
retransitions, oddly enough, is to make them sound like hard work, as if something difficult and important were being accomplished.43 To this one can add that
it is no less an achievement to fashion a retransition which can console, restore
or transport, leaving in its wake regret even at the passing of a fleeting world
which nonetheless remains within us, exposing the thread of memory embedded
in the act of listening intently. Inhabiting the alchemical space between craft and
art, the kind of retransition gesture traced over the course of this article is
distinctively Mozarts; and, inscribing our own experiences upon them, it is hard
not to wonder what drew him time and again to create these ideal even
idealised returns. Perhaps it is here that scholarship gives way. I can do no
better than to borrow the words of V. S. Naipaul: I wished then to go back as
whole as I had come. But though a fresh start is seldom possible and the world
continues our private fabrication, departure is departure. It fractures; the bone
has to be set anew each time (Naipaul 1967, p. 215).
NOTES
The transcription from the Attwood Studies in Ex. 9 is reproduced from the Kritischer
Bericht for Wolfgang Amadeus: Neue Ausgabe smtlicher Werke, Ser. X,Werkgr. 30, Bd. 1, ed.
Daniel Heartz and Alfred Mann, with the kind permission of Brenreiter-Verlag, Kassel.
The extract in Ex. 12 is reproduced here from Mozart, Missa in c, KV 427 (417a), ed.
Robert D. Levin, with the kind permission of Carus-Verlag, Stuttgart.
1. It is a coincidental resonance, most likely, but the closing chapter of Solomon
(1995) is entitled The Power of Music.
2. See Solomon (1995), especially Chs 12 (Trouble in Paradise) and 24 (Fearful
Symmetries); Hunter (1999), pp. 28598; and Burnham (2005), pp. 3952. Hunters investigation of Cos is intertwined eventually with an earlier study by Burnham
(1994).
3. Hunter (1999, p. 287) is even more blunt: [i]n their helplessness in the face of
Mozarts unbelievably gorgeous music, these critics [Alfred Einstein, Gerald
Abraham and others] abandon any attempt to make dramatic sense of the
gorgeousness and seem to want to outdo each other in their race to leave both
the characters and Da Ponte behind. For his part, Solomon (1995, p. 365), modestly
suggests that all we can do is to offer a few examples from [Mozarts] portfolio of the
beautiful; but his magisterial account does considerably more than that.
4. See Caplin (1998), p. 157. Since all development sections must eventually return to
the tonic anyway, Caplin would prefer to reserve the term retransition for those
cases in which a genuine retransition function is expressed through a dedicated
passage, typically a complete phrase or theme-like unit.
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Music Analysis 2011 Blackwell Publishing Ltd
31
32
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33
the stretch to bar 97, however, the basic point remains: the cadence projected for bar
80, and with which the long dominant pedal beginning in bar 65 is embroiled, is an
emphatic, form-defining one.
30. The Et incarnatus est is unfinished in Mozarts autograph, and the movement is
not found in any orchestral parts for the Salzburg performance on 26 October 1783.
There is no reason to doubt Constanzes implicit closeness to the movement,
however. Note also that since Mozart did complete the soprano, obbligato and
bass/organ parts for the movement, as well as the introductory and concluding
contribution of the strings (bars 118 and 113119), the passages discussed below
are essentially in finished form and involve little editorial conjecture (see, however,
n. 35, relating to Ex. 12).
31. See Abert (2007), p. 834.
32. See Levin, foreword to Mozart (2005), p. viii.
33. Se il padre perdei also includes a horn obbligato, however. On these opera connections, see Corneilson (2003), p. 126. Corneilson describes the Et incarnatus as a
reworking of Ilias aria. Levin (in Mozart 2005, p. ix) suggests a link to Susannas
Deh vieni, non tardar from Figaro, which shares key, metre and scoring with the Et
incarnatus est.
34. The cadenza does not set the record for sheer number of notes in a Mozart melisma
but, at well over a minute in performance, it surely has the greatest duration.
35. The contribution of the uppers strings at this point is conjectural, and editorial
completions of bar 54 (where the entrance of the bass invites the participation of the
full string force) range from thick, sustained doublings of the main notes of the
obbligato configuration (by H. C. Robbins Landon for Peters [1956]) to more
independently conceived support (see, for example, Helmut Eders reconstruction
in the Neue Mozart-Ausgabe [1983]; Maunder [1990] actually introduces the strings
in the middle of bar 53, before the bass support arrives). For its unobtrusive
elegance, I have chosen for Ex. 12 the completion by Levin in Mozart (2005), p.
133.
36. The phenomenon of word effacement through melisma or sustained vocal tone
(pure voice) has been termed overvocalization by Lawrence Kramer. In the
nineteenth-century song tradition that he examines, it is associated with emotional and metaphysical extremes ; Kramer (2002), p. 63. For a related discussion
of melisma in seventeenth-century opera, see Calcagno (2003).
37. See Abert (2007), p. 743: [F]rom a very early age, the mystic in him was as active as
the dogmatist, a development clear from the sacred works of his youth ... . Here it is
the sections of a mystical character such as the Qui tollis and Et incarnatus est
which ... afford the most striking evidence of their creators depth of experience.
38. It is hard not to hear a resonance also with the slow variation movement of the Piano
Concerto in B, K. 450: in one of the great strokes of the movement, the approach
to the coda, in the final phrase of the last variation, is similarly marked by a rupture
of the established formal proportions in this case an exquisite protraction
through an ascending series of diminished seventh chords (bars 95101). The two
works, K. 450 and K. 452, were completed perhaps within a week of each other in
March 1784.
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39. Compare with Rosen on the retransition of K. 593 (see again Ex. 8): [a]s the other
instruments enter with a new sequence that leads directly back to the main theme,
we find four completely different kinds of rhythm superimposed in a contrapuntal
texture at once complex and deeply touching (1997, p. 286).
40. The impression of surplus is quite literal in the cadenza to Et incarnatus est. After
the pedal passage examined above, the obbligato instruments reprise the music from
bar 7, with the soprano now superimposed upon the texture.
41. En contraste total avec le fiert du dbut, le mouvement lent ... est tout empli de
tendresse nostalgique, de ce rve amoureux ml de regret, de paysages perdus, de
soleils effacs dont Mozart a le secret.
42. See Hunter (1999), p. 287. Compare with Spitzer, who argues that retransitions are
effective in part because, viewed texturally rather than tonally, they stick out of
the music ... . [R]ather than promoting continuity, [retransitions] tend actually to
rupture form (1996, p. 20).
43. See Burnham (2001), p. 140.
REFERENCES
Abert, Hermann, 2007: W. A. Mozart, trans. Stewart Spencer, ed. Cliff Eisen
(New Haven, CT: Yale University Press).
Barthes, Roland, 1981: Camera Lucida, trans. Richard Howard (New York: Hill
and Wang).
Burnham, Scott, 1994: Mozarts felix culpa: Cos fan tutte and the Irony of
Beauty, Musical Quarterly, 78/i, pp. 7798.
______, 2001: The Second Nature of Sonata Form, in Suzannah Clark and
Alexander Rehding (eds), Music Theory and Natural Order: From the Renaissance to the Early Twentieth Century (Cambridge: Cambridge University
Press), pp. 11141.
______, 2005: On the Beautiful in Mozart, in Karol Berger and Anthony
Newcomb (eds), Music and the Aesthetics of Modernity: Essays (Cambridge,
MA: Harvard University Press), pp. 3952.
Burstein, L. Poundie, 2006: Recomposition and Retransition in Beethovens
String Quintet, Op. 4, Journal of Musicology, 23/i, pp. 6296.
Calcagno, Mauro, 2003: Signifying Nothing: On the Aesthetics of Pure Voice in
Early Venetian Opera, Journal of Musicology, 20/iv, pp. 46197.
Caplin, William E., 1998: Classical Form: a Theory of Formal Functions for the
Instrumental Music of Haydn, Mozart, and Beethoven (Oxford and New York:
Oxford University Press).
Corneilson, Paul, 2003: Mozart as a Vocal Composer, in Simon Keefe (ed.),
The Cambridge Companion to Mozart (Cambridge: Cambridge University
Press), pp. 11830.
Fuller, David, 2001: Organ Point, in Stanley Sadie and John Tyrrell (eds), The
New Grove Dictionary of Music and Musicians, 2nd edn, vol. 18 (London:
Grove), pp. 6589.
2011 The Author.
Music Analysis 2011 Blackwell Publishing Ltd
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