Question 1Neue Mozart Ausgage, Series 4: Orchestral Works, volume 7 for Sinfonie in D nach de Serenade KV 204.
Question 2
A. Measures 1-9 are organized in the form of a small ternary. This is explained where the exposition section is modulating period that ending with an authentic cadence in A major. The development section modulates back to the D major and ends with a half cadence (Eisen, 1).
B. In measure 9, there is a repetition of the cadential idea. In measure ten to 20, there is an 8 note motive measure 21, on the other hand, is an augmentation of the 8 note motive (Eisen, 1).
C. The tone is low at measure 9 the 16th note is weak. The sixteenth note is revived at measure 12 tone is higher and louder at this point. Contrasts in the melody through measures 9 to 12 result to disrupted tone (Eisen, 2). Question 4
A. The Sonata, which is D major, is the one that falls last of the different six Sonatas K. 279-284. These Sonatas are the one that Mozart had carried in his luggage to France precisely in the city of Paris on September, 1777. Mozart had successful performances in Munich, Mannheim and Augsburg presenting this music, and he proudly talked of this success to his father back at home. Mozart’s work had a particular rich dynamic marking with solutions in regard to their formality quality that were unusual (Burkholder, 12). An example is where he had a slow Rondeau en Polonaise that was acted as the Sonata in D major’s middle movement. Nine years after K. 284 was composed, the Sonata was published, but it was a reworked version and this happened in Vienna. The theme for Sonata in D major is in a form that is rounded and of a binary kind. The A section is a period that is parallel and one that modulates symmetrically. The previously published d six Sonatas in the HN 1 & 3 are currently readily available, but they are single editions and have the brand new prefaces (Broder, 32).
This Sonata was a dedication to a Freiherr renowned music patron, Baron Thaddaus von Durnitz by Mozart hence its popular name the Durnitz-Sonata. This Sonata with no doubt is the best and at the same time has brilliant and technical demands in comparison to the early six Sonatas. This figures as to why Mozart held dear this Sonata and continually had performed it solo. He said that this Sonata had an incomparable sound when played with the Stein’s new fortepianos. This was because his Sonata K. 284 displayed a high level of creativity. I had an assurance style that seem to utilize the resources in the piano and a succession of movements that was uncommon (Broder, 37).
B. A topic signifies the subject that is incorporated in a discourse. It can be a type, a style, a figure an action plan or a process of action(Burkholder, 18). Topics can be elements of language of music or took from other media. In history, western music has been taken up by theatrical arts for intensification and elevation of the word and gesture. Even as music joins these forms it incorporates its own syntax and idiomatic elaborations, gesture is often absorbed in the play of musical rhetoric. The presence of a word or gesture disappears, and its configuration remains in the form of music (Burkholder, 20). This could be compared to the loss of a jewel that is lost in the waxing process. This process has taken place a number of times in medieval polyphony, the renaissance era and the 18th century Italian opera. The syntax of classical music portrays interplay of topical references and musical processes. The precision in trimming cadential formulas, clear articulations, rhythmic groupings and orderly key schemes enable a composer to create neat figures. A lot of reference material was available to classic composers these formed a musical language that was understood by performers’ and listeners (Burkholder, 22). The reference material included a thesaurus of words that constituted all levels of dignity and specify.
In the sound recording (Mozart: Sonata in D, K. 284) Mozart, delineates a number of topics in his first few bars of his keyboard sonatas. With an understanding of topical content, a student can interpret with ease the meanings of this topic. In his sonata D major k284, the first few bars indicate an allegro style with singing style and murky bass. The sonata K 284 is less specific than the other Sonatas but strongly suggestive of its topical content. The topics in this sonata are derived from various points in the thesaurus including melodic styles scoring, figures and ornamentation. With knowledge of topical content, a student will be able to listen and understand themes styles and variations in Mozart’s sonatas. In the sonata K.284 for instance, the allegro movement in the exposition is followed by a Rondeau en Polonaise and 12 variations in its development. One would notice the difference in tonal variations as compared to previous Mozart’s sonatas. The number of double notes, tremolos and complex rhythmic figures in measure 10 resulting to a brilliant style can be identified by a student with topical understanding. Topical content understanding would help a student play each of Mozart’s notes with key precision. For instance in the symphonic nature in the first movement, the pianist would need to into the bass octaves and chords in a murky bass style, a technique that would prove hard learning without the knowledge of topical content.
Works cited
Cliff Eisen. Mozart, Wolfgang Amadeus. Grove Music Online. Oxford University Press. 2001. Web. 7 February 2014.< http://www.grovemusic.com>
Donald Alfano. “An Interpretive Analysis of Mozart’s Sonata #6”. Clavier Vol: 34. 1995: (17-19). Print.
J. Peter Burkholder. A History of Western Music. New York: W.W. Norton & Company. 2009. Print.
Wolfgang Amadeus Mozart, Complete Sonatas and Fantasies for Solo Piano. Ed. Nathan Broder Mineola, N.Y: Dover Publications. 1986. Print
Wolfgang Amadeus Mozart. Sonata in D, K. 284, Sonata in B Flat, K. 570, Rondo in D K. 485. Perf. Mitsuko Uchida. Philips 420185. 1983. CD.
