Introduction
In his Streichquartett, Beethoven takes motivic material generated in Theme Groups 1 and 2 of the sonata exposition, and expounds upon them in the different transitional sections of the piece. By utilizing these distinct motives in different textural and harmonic contexts, Beethoven creates a strong sense of unity within the piece as a whole, while also designing a unique identity for each section.
The plan of this paper is first to identify the different areas where Beethoven borrows the motivic material and thus make explanations of the differences in existence as follows: Structural, harmonic and textural. The paper takes a vital interest on Beethoven’s use of Theme Group 1 material and another one where he reuses the Theme Group 2 material. The paper will base on the differences between where the motives make appearances, their context and how they are reused in addition to going into details about Beethoven’s constant motivic recontextualization aural effects. Finally, the paper will address on how all the effects and techniques influence a specific listening experience and thus creating a cohesive sonata.
Mozart expands the various elements in the secondary motivic materials presented in m.13 up to 18 in Group 1 in the advancement of the String Quartet No. 8 in F, KV 168. He further utilizes the material to create harmonic bridge between the recapitulation and exposition by motivic expansion and tonic preparation of the figure in development. The significance of developing the motive is based on its occurrence in a modulatory passage in addition to its reoccurrence in the development of another modulatory passage in the form of sonata. Mozart creates interest in the motivic material by making its elaboration in various ways despite his repeat of the core of the motivic cell during development. These make the reiteration of the motivic cell based on the creation and maintenance of various textual propositions and harmonic rhythms.
The functionality of the two sections utilizes many parallels but their harmonic directions are different. The first appearance of the motive causes a shift of the tonal center of the piece to dominance. In the development, after it reappears, it makes a preparation of the tonal center by at first tonicizing after which it modulates to the relative minor of F, D minor, and later heading back to the original tonal center and the original tonal center being F major in the recapitulation. Mozart manages to create a binding relationship between the modulation and the motive in the listener’s ear by taking the motive.
Motivic Cell in m. 13-14, elaborated further in the development. Notice the thickening of the texture as it progresses.
In the above motivic cell borrows and makes an expansion of the motive as it is first heard in the consequent of the second period in Theme Group 1. The motive is four measures long and progresses gradually from thin to thicker textually speaking, from two voices in its 1st iteration, 3 in its 2nd, and 4 voices in its 3rd and 4th iteration. Looking at the development, Mozart maintains those textural and metric similarities; the difference is in that he simply repeats the motive after its first complete iteration (m. 55-67). The harmonizations, however, are unique to each iteration of the motive. At the core of the expansion of the development is where the reiteration of the motivic cell in m.55 towards 67. The characterization of the figure is descending 3rd in the upper vocalist and assists to drive the harmonic of the music. Mozart speeds up the motive of its harmonic rhythm underneath the descending figure increases to at least two harmonies per measure.
In m. 55, the harmonic rhythm speeds up significantly.
Besides the cadences in D minor in m.89 and 95, the other measure 45 showed in the above figure through three cords, I in the key of C in beats 1 and 2, V/IV in 3rd inversion and V7/ii. This is in stark contrast to the 2nd period of Theme Group 1; where the harmonic rhythm remains relatively slow at one chord per measure throughout m. 89-95.
Almost all material of exposition can be said to have come from the initial rhythmic figure and all the melodies that are represented from the beginning. The main motives cell of the pieces.M.89_95 as ways constitutes the 1st theme group. In addition, m. 119-150 are the most elaboration of the ideas as they are presented. After m. 119, it can be said that the cello, s rhythmic motives is now suggestive of the dominant C. The newer melodic motives in the violin are moved upward.
There is a moduratoly movement after m.119 by placing the F in the 2nd inversion(m.120).This is treated as an arpeggiated 6-4chords,.He play in a tonality by having B natural, and the chromatic lower neighbor, implying that v, c hence it is perceiving the Bb in the melody.
Trough the voice leading we can arrive in Ab down beat in M.89.The Ab is arrived via the common to new modulation from the Cm, and the different two key being at work. Beethoven combines both the primary and secondary motive repeatedly in m.41-47. The two motives are always played on top of each other.
Beethoven uses the modal mixtures to move to the C instead of C major using G7 in m. 40.The PAC that is produced in m.72Is also PAC in a new key. The 2nd transition always starts with a new key. The first transition always starts from the same key and moves away from it.
Despite the fact that Mozart taking the secondary motivic materials that are from Theme group 1 and to a big extent he tries to transposes it so that it may be able to fit into the developments of the tonal centre, the differing of structural function of this development also expand the motives that is brought out from the harmonic pellets. There is also the need to create a bridge that is required to link the tonal centre and the existing that is in between the exposition and the recapulating. This development puts into practice the motivic material that is in figure that moves the music from the at the end of the exposition and finally to f major when recapitulating. This tonic preparation is attained by modulating from the C major to the relative minor F, the D minor, while still developing. Mozart wisely achieves the modulation and transition by use of diatonic and tonicication that are well placed. In m.42 the material; that is used on the c major is diatonic and this outlines the C major and its subsidiary chord that is A minor.
Chromatism is introduced in this by the use of the secondary Dominants, With The M.43 that is tonicizing the V b chord in the c and m.45so as to hint the D minor with C# in the first violin. This motive is repeated as it was stated earlier, That is the building of the D minor as the text continue to thicken. By M.49, the d minor is always regulated by the authentic cadence. One of the powerful Movement of the D minor comes in M. 53 to m.57.There is perfect authentic condense in the D minoron the first beat of m.57.Fro M.57 to 61 there is always a very simple varied repetition or the extension of a cadental figure. With another perfect authentic Candence is on 1st beat of m.61.Mozart uses m.61and 62 to effectively transits back to the F major by use of the diatonic materials. After the production of authentic cadence then, he shifts to the monophonic texture. It is played by the 1st violin and the viola. In this, there is use of pitches diatonic in both the D and F minor and the clever omitting of the F major and the recapitulation process.
In developing of The string Quartet No.8 in the F, Kv 168, Mozart uses the material first That are presented by m.13-18 of the group as his building blocks for the development. These two musical passages have in common the interesting parallel on the harmonics and their structure levels. Although this passage takes the listener to different direction, it also plays an important role of bringing the music from one point to another. Through the process of developing, the harmonic cells from many different sections of the sonata are usually used. Mozart is also very able to create a cohesive composition that reaffirm the saying that the whole is greater than the sum of its parts.
