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R econstructing M ozart

R econstructing M ozart * A version of this article was first published in German as ‘Zur Komplexitat Mozarts. Analytischer Versuch iiber eine Sequenz’, Musik & Asthetik, 16 (October 2000), pp. 5LJ. Music Analysis, 2 1/iii (2002) 0Blackwell Publishing Lrd. 2002. Published by Blackwell Publishing, 9600 GarsingtonRoad, Oxford OX4 ZDQ, UK LUDWIG HOLTMEIER central postulate of classical music aesthetics: the ‘unity of feeling’, the balance of affective forms.’ The following analysis of a self-sufficient transitional section, whose organisation is strictly proportional viewed in periodic-metrical terms, is only concerned with the first of these aspects.2 Harmonic movement within transition sections occurs in Mozart primarily within a framework of simple diatonic sequential proce~ses.~ Although Mozart often works with almost identical harmonic models and sequence types, his transition sections rarely appear banal and in spite of the periodic-metrical corset which constrains fixed and transitional elements to the same degree, they stir up a kind of developmental energy which has a clear influence beyond the dynamics of the harmonic progression alone. Mozart knows how to set in motion extraordinarily complex processes within apparently simple sequential models. It is thanks to this complexity - and not merely the ‘pure’ beauty of the melodic and harmonic invention in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

R econstructing M ozart

HOLTMEIER, LUDWIG
Music Analysis , Volume 21 (3) – Oct 1, 2002
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Publisher
Wiley
Copyright
Blackwell Publishers Ltd 2002
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/1468-2249.00169
Publisher site
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Abstract

* A version of this article was first published in German as ‘Zur Komplexitat Mozarts. Analytischer Versuch iiber eine Sequenz’, Musik & Asthetik, 16 (October 2000), pp. 5LJ. Music Analysis, 2 1/iii (2002) 0Blackwell Publishing Lrd. 2002. Published by Blackwell Publishing, 9600 GarsingtonRoad, Oxford OX4 ZDQ, UK LUDWIG HOLTMEIER central postulate of classical music aesthetics: the ‘unity of feeling’, the balance of affective forms.’ The following analysis of a self-sufficient transitional section, whose organisation is strictly proportional viewed in periodic-metrical terms, is only concerned with the first of these aspects.2 Harmonic movement within transition sections occurs in Mozart primarily within a framework of simple diatonic sequential proce~ses.~ Although Mozart often works with almost identical harmonic models and sequence types, his transition sections rarely appear banal and in spite of the periodic-metrical corset which constrains fixed and transitional elements to the same degree, they stir up a kind of developmental energy which has a clear influence beyond the dynamics of the harmonic progression alone. Mozart knows how to set in motion extraordinarily complex processes within apparently simple sequential models. It is thanks to this complexity - and not merely the ‘pure’ beauty of the melodic and harmonic invention in

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Music Analysis – Wiley

Published: Oct 1, 2002

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