Mozart's Codas

Cavett, Esther

doi:10.2307/939245

Cited by 5 publications

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“…11 11 Morgan's observation on Beethoven (1993) is, therefore, very similar to Cavett‐Dunsby's on Mozart (1988). …”

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“…After all, to theorise a section of the sonata structure that is so varied as the coda is no easy task, which is probably why Kerman ultimately believed that the term ‘coda’ referred simply to a position rather than a musical function. Esther Cavett‐Dunsby, who was among the first to respond to Kerman's comments, not only refuted his claim that ‘Mozart often works without a coda’ (Kerman 1982, p. 142) but also exposed the author's failure to define the term, so that one would be able ‘to identify a coda or its absence’ (Cavett‐Dunsby 1988, p. 32). She proposed two types of sonata‐form codas in Mozart: (1) formal codas, which begin after double bar lines and repeat signs, and (2) structural codas, which reinforce the harmonic closure after the completion of the fundamental line.…”

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“…9 9 Cavett‐Dunsby (1988, pp. 46–7) summarises the eight characteristics of Mozart's sonata‐form codas as follows: (1) the coda may highlight an essential motive from the main part of the movement or underpin the motivic relationship between two apparently contrasting themes; (2) a striking ‘poetic idea’ from the main part of the movement may be reproduced in the coda; (3) the coda may make a textural reference to an earlier section of the movement; (4) the primary note of the fundamental line may appear melodically in the foreground just after the fundamental structure has closed; (5) the beginning of the coda may echo the beginning of the development, producing a moment of ambiguity; (6) either registral completion may occur in the coda, or a high note may be left hanging in order to be taken up again in the next movement; (7) the coda may add further commentary on the movement's metrical organization; or (8) a first‐movement coda may prefigure melodic and harmonic features of other movements, while a finale coda may summarize features of some or all of the preceding movements. …”

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Coda with aFinalTwist:theVivaceCodetta in theFirstMovement ofBrahms'sCello sonata inFmajor

Wu¹

2012

Music Analysis

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nelson wuCoda with a Final Twist: the Vivace Codetta in the First Movement of Brahms's Cello sonata in F major In his article on Johannes Brahms's sonata-form codas, Mark Delaere (1999) assigned the concluding sections to one of three affective types: climax (intensification), ralentissement (dissolution) and juste milieu (the same). His method of categorisation is primarily based on whether or not there is a change of tempo, expressive marking or texture at the beginning of a coda. 1 While one can cite examples such as the coda of the first movement of the String Quartet in A minor, Op. 51 No. 2, for intensification (più animato sempre), the majority of Brahms's endings are of the ralentissement type. In his dissertation on Brahms's codas, Matthias Rohn (1986) pointed out that it is unlikely that the composer orientated himself to Beethoven, because the elaboration of compositional details in Brahms's endings serves largely to reduce tension; increases in tension at this point are rare. Indeed, he frequently used expressions such as tranquillo, calando, meno allegro, sostenuto, largamente, espressivo, dolce and sotto voce to mark the beginning of a coda. 2 Of course there are also other possibilities -for example, codas that begin with one affect but end with another. In the opening movement of the String Quartet in C minor, Op. 51 No. 1, the coda commences with a change from 3/2 to duple metre alla breve and a modulation to the subdominant minor, and is further marked by the performance direction p crescendo ed agitato. Although listeners are led to believe that the persistent intensification will draw the Allegro to a climactic end, this coda, in fact, concludes with diminuendo, rhythmic deceleration and a dynamic swell on the final tonic major chord, which is played piano and with a fermata. Thus, rather than restoring the opening affect, one might infer that this discharge anticipates the ensuing Romanze -poco adagio. 3 A reversal of the intensification-dissolution model can be found in the coda of the opening movement of the Piano Trio in B major, Op. 8, in its revised form. It begins tranquillo, and the dissolution process involves not only attenuation in dynamic intensity (diminuendo and pp perdendo), but kinetic deceleration (poco ritardando) as well. Yet this discharge is followed by a determined intensification halfway through the coda. Starting from in tempo ma sempre sostenuto, there is a gradual but persistent build-up in dynamic intensity and surface rhythm. It is, therefore, not surprising that the Allegro con brio ends with a spirited perfect cadence. 4 Although it may be true that Brahms's penchant is to conclude a sonata-form movement with an introspective ending, there are a number of instances in which he provides a final twist at the very end. The coda in the first movement of the

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“…11 11 Morgan's observation on Beethoven (1993) is, therefore, very similar to Cavett‐Dunsby's on Mozart (1988). …”

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confidence: 76%

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confidence: 99%

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confidence: 99%

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Coda with aFinalTwist:theVivaceCodetta in theFirstMovement ofBrahms'sCello sonata inFmajor

Wu¹

2012

Music Analysis

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“…199 In this vein, Schenker assigns structural-functional distinctions to specific prolongations, attempting to reconcile their synchronic role with the diachronic forces that impel them towards the closure of the Ursatz. Examples include initial ascents (Anstieg) to the primary tone (Kopfton) of the Urlinie, interruptions (Unterbrechung), and any prolongations situated in a movement's "structural" coda (i.e., the portion of the movement following the closure of the Ursatz (Cavett- Dunsby, 1988)). In the case of the interruption, while it can only occupy a certain diachronic position (i.e., after the first statement of 3/I and before the restatement of the Kopfton), it also serves a specific synchronic function, namely the form-generating role of sustaining the development section.…”

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Music in Evolution and Evolution in Music

Jan

2022

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Music in Evolution and Evolution in Music by Steven Jan is a comprehensive account of the relationships between evolutionary theory and music. Examining the ‘evolutionary algorithm’ that drives biological and musical-cultural evolution, the book provides a distinctive commentary on how musicality and music can shed light on our understanding of Darwin’s famous theory, and vice-versa. Comprised of seven chapters, with several musical examples, figures and definitions of terms, this original and accessible book is a valuable resource for anyone interested in the relationships between music and evolutionary thought. Jan guides the reader through key evolutionary ideas and the development of human musicality, before exploring cultural evolution, evolutionary ideas in musical scholarship, animal vocalisations, music generated through technology, and the nature of consciousness as an evolutionary phenomenon. A unique examination of how evolutionary thought intersects with music, Music in Evolution and Evolution in Music is essential to our understanding of how and why music arose in our species and why it is such a significant presence in our lives.

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Mozart's ‘Haydn’ Quartets: Composing Up and Down without Rules

Cavett-Dunsby¹

1988

J. R. Music. Assoc.

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In Classical sonata form, the second group - usually in the dominant or relative major - is normally recapitulated in the tonic. This means that a composer of sonatas must choose whether to transpose the second group in the recapitulation up or down a fourth/fifth or sixth/third. What advice, then, would Mozart have offered if his pupil Thomas Attwood had asked him how to decide whether the second group should come back transposed up or down?

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Mozart's Codas

Cited by 5 publications

References 0 publications

Coda with aFinalTwist:theVivaceCodetta in theFirstMovement ofBrahms'sCello sonata inFmajor

Coda with aFinalTwist:theVivaceCodetta in theFirstMovement ofBrahms'sCello sonata inFmajor

Music in Evolution and Evolution in Music

Mozart's ‘Haydn’ Quartets: Composing Up and Down without Rules

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