this last movement is in sonata rondo form, in 6/8, in our home key of e-flat major.
this movement alternates between rolling and rollicking. it starts off lovely and graceful, but then has short outbursts of virtuosity with lots of sixteenth note runs for everyone.
development at 2:30 with the entrance of the viola. starts as the beginning, but very quickly modulates to several other keys, hinting for a while at g major, but bypassing it to continue around the circle of fifths in on of the explosions of sixteenths, ending finally at 3:35 in a dovetail into part of the exposition.
4:50 is the true recap, though, and the galloping part is the beginning of a coda which will bring the whole work to a grand close.
more will be added to this entry once i actually study this piece and get a clue as to this movement, but i couldn't leave the last movement hanging :) enjoy.
Showing posts with label mozart. Show all posts
Showing posts with label mozart. Show all posts
Sunday, May 22, 2011
Mozart: Divertimento in E-flat, K. 563 - V. Minuet: Allegretto
this minuet is in e-flat, has two trios, and is slightly more poised than the first minuet.
it sounds harmonically very much like the first minuet, but in the second section of the minuet there is a bit of a halted moment, where everything stops for just a moment before resuming as normal.
first trio comes at 1:18; it is in a mellower a-flat major and the melody is given by the viola. the second section plays in the dominant, and there is even a brief development in the middle, featuring sustained diminished chords.
the second trio, at 3:06, is a bit more jolly and fun, with a venture into the relative minor in the middle which is more energetic. the violin gives an arpeggiating tune with a cool bit of rhythmic augmentation in the middle.
the last repetition of the minuet includes even more mozartean moments of ornamentation, along with a little coda.
it sounds harmonically very much like the first minuet, but in the second section of the minuet there is a bit of a halted moment, where everything stops for just a moment before resuming as normal.
first trio comes at 1:18; it is in a mellower a-flat major and the melody is given by the viola. the second section plays in the dominant, and there is even a brief development in the middle, featuring sustained diminished chords.
the second trio, at 3:06, is a bit more jolly and fun, with a venture into the relative minor in the middle which is more energetic. the violin gives an arpeggiating tune with a cool bit of rhythmic augmentation in the middle.
the last repetition of the minuet includes even more mozartean moments of ornamentation, along with a little coda.
Mozart: Divertimento in E-flat, K. 563 - IV. Andante
This movement features a set of theme and variations in b-flat major.
this is a bit hard to parse because there is no space in between the variations, so i will include lots of markers here.
theme is relaxed and pretty standard. two parts, both repeated. the first consists of a pretty standard eight bar, the first four bars half cadence and the final four cadence. already on the repeat, mozart starts varying, so it sounds a bit like a new variation, but the second part of the theme has yet to come. it takes us to harmonically new territory - c minor, f major, then cadence in b-flat, and then rounds it off neatly with a four bar "coda." again, the "repeat" of this second section is already quite different from the first time.
1:37 is the first variation, mostly for the violin. the viola receives the melody, while the violin plays a sort of descant. the repeat features some more difficult arpeggios for the violin, which are carried on in the second section.
3:06 is more boisterous, and gives a sort of conversation to the violin and viola, which alternately play parts of the melody and triplet arpeggios. the cello also gets to contribute his bit in the second half.
4:44 suddenly the jollity halts and we are given a much more solemn variation, in b-flat minor. wistful dotted rhythms and sustained notes are exchanged in equal part between all of the instruments.
6:16 back to the realm of the major, and the cello sustains long notes of the melody while the viola plays a sort of alberti bass and the violin has mad scales and perpetual motion all over the place. he does a bit of slicing and dicing, as the variation doesn't exactly adhere to the original theme, but that is because he is about to hit a coda. the other two instruments get their share of the perpetuo moto, but then all of a sudden we're back in the realm of the theme, which brings us to a relaxed close.
this is a bit hard to parse because there is no space in between the variations, so i will include lots of markers here.
theme is relaxed and pretty standard. two parts, both repeated. the first consists of a pretty standard eight bar, the first four bars half cadence and the final four cadence. already on the repeat, mozart starts varying, so it sounds a bit like a new variation, but the second part of the theme has yet to come. it takes us to harmonically new territory - c minor, f major, then cadence in b-flat, and then rounds it off neatly with a four bar "coda." again, the "repeat" of this second section is already quite different from the first time.
1:37 is the first variation, mostly for the violin. the viola receives the melody, while the violin plays a sort of descant. the repeat features some more difficult arpeggios for the violin, which are carried on in the second section.
3:06 is more boisterous, and gives a sort of conversation to the violin and viola, which alternately play parts of the melody and triplet arpeggios. the cello also gets to contribute his bit in the second half.
4:44 suddenly the jollity halts and we are given a much more solemn variation, in b-flat minor. wistful dotted rhythms and sustained notes are exchanged in equal part between all of the instruments.
6:16 back to the realm of the major, and the cello sustains long notes of the melody while the viola plays a sort of alberti bass and the violin has mad scales and perpetual motion all over the place. he does a bit of slicing and dicing, as the variation doesn't exactly adhere to the original theme, but that is because he is about to hit a coda. the other two instruments get their share of the perpetuo moto, but then all of a sudden we're back in the realm of the theme, which brings us to a relaxed close.
Mozart: Divertimento in E-flat, K. 563 - III. Minuet
this minuet is cool because of the opening hemiola effected by the accompanying chords.
standard a-b-a minuet. we're now back in e-flat major, but the opening section gives us a taste of c minor (relative), and cadences in b-flat. second section, beginning at 1:00 and returning quickly to the opening material to round off in e-flat after a cool bit of extended playing on the main material.
2:40 trio, takes us very quickly in and out of b-flat major. the second section of the trio features some interesting "echoes" from the viola and cello, and an elided cadence at around 3:30 allows the viola to come up and take the violin's role out of nowhere.
recap at 4:33, the rest is history.
standard a-b-a minuet. we're now back in e-flat major, but the opening section gives us a taste of c minor (relative), and cadences in b-flat. second section, beginning at 1:00 and returning quickly to the opening material to round off in e-flat after a cool bit of extended playing on the main material.
2:40 trio, takes us very quickly in and out of b-flat major. the second section of the trio features some interesting "echoes" from the viola and cello, and an elided cadence at around 3:30 allows the viola to come up and take the violin's role out of nowhere.
recap at 4:33, the rest is history.
Mozart: Divertimento in E-flat, K. 563 - II. Adagio
this second movement is the slow movement in sonata form. it is written in a-flat major, the subdominant to e-flat. elegant, full of moonlight, and plenty of cadenza-like moments for everyone, it sounds just like a serenade to me.
it starts, like the first movement, with a simple arpeggio, but this time turned on its head, coming from the cello, from the bottom up. before long it settles into a comfortable flow, and a lot of the little figures from the violin sound to me like they could be unmeasured - simple ornamentation over the bed of the viola and cello.
at around 1:30 there is a modulation into the dominant, e-flat. the second theme is a series of modulating arpeggios and is basically an extended cadenza for the violin. the exposition ends in e-flat.
2:57 development, on the opening figure (the ascending arpeggio), then diminished chords over the pedal C in the cello. this development, too, is extremely short. recap at about 4:08. the recap is basically the same but for a few extra ornamentations in the cello part. mozart begins redeveloping almost immediately, ensuring that the rest of the recap falls into place in the key of a-flat. sometimes he takes the time to stop and smell the roses, adding an extra half bar or so here and there with moments of repose.
7:19 is a bit of a coda, spearheaded for the first time by the viola. there is a surprise fully diminished chord, and this gives the final chords a greater sense of satisfaction at the end of the movement.
it starts, like the first movement, with a simple arpeggio, but this time turned on its head, coming from the cello, from the bottom up. before long it settles into a comfortable flow, and a lot of the little figures from the violin sound to me like they could be unmeasured - simple ornamentation over the bed of the viola and cello.
at around 1:30 there is a modulation into the dominant, e-flat. the second theme is a series of modulating arpeggios and is basically an extended cadenza for the violin. the exposition ends in e-flat.
2:57 development, on the opening figure (the ascending arpeggio), then diminished chords over the pedal C in the cello. this development, too, is extremely short. recap at about 4:08. the recap is basically the same but for a few extra ornamentations in the cello part. mozart begins redeveloping almost immediately, ensuring that the rest of the recap falls into place in the key of a-flat. sometimes he takes the time to stop and smell the roses, adding an extra half bar or so here and there with moments of repose.
7:19 is a bit of a coda, spearheaded for the first time by the viola. there is a surprise fully diminished chord, and this gives the final chords a greater sense of satisfaction at the end of the movement.
Mozart: Divertimento in E-flat, K. 563 - I. Allegro
i have been assigned to perform this piece in a short festival i am attending this summer, so i thought i would get a head start on learning it. the piece was written in mozart's all-famous summer of 1788 (the most well-known feat being that he composed all three of his final and most well-known symphonies during these weeks). it is a string trio for the problematic ensemble of violin, viola, and cello, and it was dedicated to a friend of his who lent him money (michael puchberg). he premiered it that september playing the viola part.
true to the form of a divertimento, it has six movements, but in all other respects is basically a string trio work. most program notes point out that it includes two minuets, a set of theme and variations, and another slow movement in sonata form, but is not generally seen as the "light" music that the name 'divertimento' otherwise suggests.
the ensemble is problematic because it lacks fullness generally. this is an impression i get almost always listening to this ensemble - with one more violin it is generally easy to take care of, which is why the quartet has become such a staple ensemble of chamber music. but mozart does a great job of covering for it in this work.
the first movement is a standard allegro in sonata form.
exposition from beginning up until about 2:30, where it repeats. the theme, beginning with a descending e-flat arpeggio, is cheery and sunny, but elegant at the same time. a modulation into b-flat along with a second theme comes at about 0:45, a bit more lyrical, but not exactly dolce - still plenty of texture in the other parts. i enjoy how he prolongs the real cadence until quite late, spinning out many arpeggios and extended solos for the three instruments until finally rounding it off.
development begins at 4:50. he starts with the same figure that opens the movement, but then moves it in astonishing directions, contrasting it with a rising figure in whatever instruments accompany it. 5:15 a bit more movement and strife, and this moment reminds me a bit of the corresponding section in the first movement of beethoven op 18 no. 1. the strife dies down quietly, and the development is actually extremely short, leading to a recap at 6:00.
redevelopment at 6:34. cadences in the correct key of e-flat, so that he can begin the second theme in its rightful place. the movement ends without coda.
true to the form of a divertimento, it has six movements, but in all other respects is basically a string trio work. most program notes point out that it includes two minuets, a set of theme and variations, and another slow movement in sonata form, but is not generally seen as the "light" music that the name 'divertimento' otherwise suggests.
the ensemble is problematic because it lacks fullness generally. this is an impression i get almost always listening to this ensemble - with one more violin it is generally easy to take care of, which is why the quartet has become such a staple ensemble of chamber music. but mozart does a great job of covering for it in this work.
the first movement is a standard allegro in sonata form.
exposition from beginning up until about 2:30, where it repeats. the theme, beginning with a descending e-flat arpeggio, is cheery and sunny, but elegant at the same time. a modulation into b-flat along with a second theme comes at about 0:45, a bit more lyrical, but not exactly dolce - still plenty of texture in the other parts. i enjoy how he prolongs the real cadence until quite late, spinning out many arpeggios and extended solos for the three instruments until finally rounding it off.
development begins at 4:50. he starts with the same figure that opens the movement, but then moves it in astonishing directions, contrasting it with a rising figure in whatever instruments accompany it. 5:15 a bit more movement and strife, and this moment reminds me a bit of the corresponding section in the first movement of beethoven op 18 no. 1. the strife dies down quietly, and the development is actually extremely short, leading to a recap at 6:00.
redevelopment at 6:34. cadences in the correct key of e-flat, so that he can begin the second theme in its rightful place. the movement ends without coda.
Sunday, January 9, 2011
Mozart: Overture to Die Zauberflöte (The Magic Flute), K. 620
OK, as i've been promising for a few days, some Mozart!
composed in 1791, and unique because it's one of the only works Mozart composed to german text. the libretto was written by emanuel schikaneder. it was his last really major work, produced in vienna.
i don't really want to focus on plot synopsis, so we'll just dive right in to the actual overture.
composed in 1791, and unique because it's one of the only works Mozart composed to german text. the libretto was written by emanuel schikaneder. it was his last really major work, produced in vienna.
i don't really want to focus on plot synopsis, so we'll just dive right in to the actual overture.
levine has near perfected the art of opera, and is one of the most consistent big name maestros for the form today. this is a rather beefy version. he also looks incurably goofy (i cannot be the only one who wants to laugh when i see the cue right before the first note), but it cannot be disputed he gets the job done.
the first few chords are always done differently. the pickup is actually written as a sixteenth, but they're usually so heavy that they sound like something different. in any case: these chords are like a foundation - they set up a "realm," both tonal and emotional, within which the opera resides: graceful yet grand, dramatic and delicate. or as dale put it more poetically, "it's like describing eden." and indeed the whole overture of an opera is all about setting up a musical stage. the rest of the overture uses mainly just one brisk theme of eighths and sixteenths, which is developed in a fugal form. a brief middle section begins with a sort of reprise of the opening chords in the dominant major, B flat. a minor section which develops the sole theme with more fugal interplay gets furious and dramatic but remains light. a truly mozartean ring around the circle of fifths leads us to a fake recap which dissolves into a series of descending scales, and then back to the theme for the real recap.
notice the fantastic brass fanfares in the coda ;)
just for reference, you can also check out the muti/vpo one - i won't host it here because i think it's quite similar to the levine, except perhaps a bit more delicate and "classy." it is nice because you can see the orchestra for most of it, ionno about that bg picture though :D
here's something very different.
a perfect example of what i was talking about with the opening sixteenth notes. abbado decides to take them pretty much in time, and doesn't stretch the half notes *or* the fermatas. the opening is muuuch brisker than you hear normally, and the overall sound is thinner - almost as if he's trying to go for a period feel with the modern orchestra. lots of decay on longer notes, super short chords, and generally everyone is playing quite light even for this overture. it's also quite a bit faster, clocking in at over half a minute shorter than levine or muti (in a 7 minute piece, nontrivial). i enjoy this though. very unsentimental, but classy.
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