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A comprehensive music education is one which teaches performance, listening and analysis, with the objective of creating new music. Mozart is the ultimate example of a composer whose ideas are stated and developed with ingenuity and clarity. Mozart’s works are the ideal model for understanding compositional techniques within a formal structure. The sublime beauty of his music makes the process of analysis enjoyable and engaging. This resource endeavours to support teachers and students in their appreciation of Mozart’s work and to facilitate the process of teaching composition.

Introduction

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World Events  The 18th Century was the era of the Western European Enlightenment, the Q'ing Dynasty in China, the Edo-Tokugawa period in Japan, the Dreaming time for Australia's indigenous nations and many great empires & dynasties in the Arabic speaking world. It was an age of great discoveries and adventures for many people in the world.  The 'Great Southern Lands' were unknown by the Europeans and were marked as 'Here Be Dragons' on their maps. This land would become known as Australia around 1606, by first the Dutch, then the French and then the English, although many different indigenous nations had called the Australian continent home for more than 50,000 years.  An English Navy officer named Captain Cook landed on Australia's east coast in his ship the Endeavour in 1770 and mapped most of Australia's east coast for the English. This contact is recorded in th many drawings of ships with sails & white people in uniforms by the locals of coastal nations. Notable events in 1789 included the Napoleonic wars, Australia’s role as a penal colony for Britain, a smallpox epidemic in NSW that killed a large number of indigenous people from the Eora nation, the French Revolution and the Mutiny on the Bounty under William Bligh. Salzburg and Vienna  Salzburg, Mozart’s birthplace, was a city of beautiful Baroque architecture. It was a city controlled by the archbishops and while it became a city of cultural activity, Mozart in his adult life found the city to be too conservative. He chose Vienna, which was in the throws of the enlightenment, as his permanent home.  The beginning of the 18th Century heralded a golden age for Vienna with civil reform and a classical music revolution. Vienna was ruled by the Hapsburgs who helped distinguish it as a culture centre of enlightened Europe. Pride in the cleanliness of the city became a major feature after the city had suffered plague epidemics in 1697 and 1713.  Napoleon occupied the city twice, in 1805 and 1809. His reign over Europe was brief and in 1814–15 Vienna hosted the Congress of Vienna to provide long term peace for Europe. Vienna continued to be the cultural centre of Europe and today maintains the classical tradition, hosting the finest orchestras and Opera companies in the world. Vienna offers excellent musical education in schools or universities and a healthy cultural life for professional musicians and the general public. Mozart wrote his greatest chamber music after having settled permanently in Vienna in 1781 at the age of 25.

World Context

Immediate Context

The Quintet  Mozart wrote the Clarinet Quintet in A Major K581 in 1789. The Quintet had its first performance in Vienna of that year and was dedicated to his close friend Anton Stadler who was a well-known clarinet virtuoso of the time. The first performance was at the Burgtheatre in a concert for the Viennese Musical Society. Anton Stadler was the soloist and Mozart himself was a member of the quartet.  The Quintet is a relatively late piece written among his last works before his death in 1791. These late major works include symphonies No 39, 40 and 41, the Requiem and The Magic Flute. A feature of Mozart’s Clarinet Quintet is its extraordinary tranquility, yet it was composed during one of the unhappiest times of Mozart’s life. Mozart at this time suffered ill health and financial difficulties.  The Clarinet  In the 18th Century the clarinet was a new and novel instrument. It was introduced into the orchestra by composers of the famous Mannheim school. Manheim was a city in Germany famous for its music institutions. Here the ‘classical’ orchestra as we know it was established with strings and standard woodwinds in pairs. Mozart heard the instrument as a young boy and fell in love with it even though the instrument was in its early stage of development (its tone was quite raw). It began to appear regularly in Mozart’s works around 1773. It was only in his Viennese years however that the composer wrote three pieces where the clarinet was treated as the solo instrument. Part of Mozart’s fascination with the clarinet at this time was due to his friendship with the Austrian clarinet virtuoso Anton Stadler (a fellow Freemason), for whom he wrote his three major works for the clarinet; Trio, K.498, Quintet, K.581, Concerto, K.622.  Stadler played the Basset clarinet; a clarinet-like instrument of his own invention, which could play four pitches lower than the standard clarinet of Mozart’s day. Mozart thought this clarinet was the closest instrument to the human voice (it was a softer instrument than the modern clarinet). Today, Mozart’s works are mostly played on an A clarinet however ensembles using 18th Century instruments often choose to use the Basset clarinet.  Freemasons  The Freemasons are a secret society of men who share the same beliefs, and support each other. The origins of Freemasonry are linked to the stonemasons in the Middle Ages. The stonemasons were a society or guild where they shared their trade skills and kept them secret, as this was their livelihood.  Freemasonry began in the 18th Century and rapidly spread around the world. To be a Freemason a man must believe in a supreme being but not necessarily subscribe to the Christian belief. The number 3 was an important symbol in Freemasonry as it also was in Christianity.  Mozart was deeply influenced by the Masonic order and teachings. Being a part of the Freemasons gave him a support network and in some respects influenced his composition.  His most famous work related to Freemasonry is the Opera The Magic Flute where the number 3 is represented a great many times. His last three famous symphonies were written whilst he was a member of the masons. The Clarinet Quintet belongs to this period and the number 3 is represented by the Key Signature of three sharps – A major.

The Classical Period  Balance and order were two of the most important qualities of the music in the Classical period. Simplicity, contrast and elegance prevailed in contrast to what was seen as the excessive and complex characteristics of Baroque music.  Music from the Classical period is characterized by simplicity and logic, making it accessible for the general public. Audiences related to shorter melodic phrases and uncomplicated accompaniments.  Balanced and symmetrical patterns formed well-defined musical phrases, giving listeners a sense of regularity. Harmonic progressions were also straightforward (one or two chords per bar). They were simple, logical and elegant. Rhythmically, composers used regular and dance like patterns. Textures were mostly homophonic where the melody dominated (the accompaniment supported the melody).  Chamber Music  Chamber music is instrumental music written for one player per part and intended for performance in the relative intimacy of a private room or a small hall. In the 18th Century, attending the performance of chamber works was a regular pastime amongst the upper classes. However, amateur musicians in the upper classes playing together at home also enjoyed chamber music. Demand for chamber music was consequently very high. Composers like Mozart were often given commissions for this purpose.  Today many musicians play chamber music for pleasure and it also falls into the realm of professional music making. Playing chamber music requires special musical and social skills and is a very different experience from playing in large ensembles (chamber music is played by a small number of players). Combinations of players include duets, trios, quartets and quintets. Lastly, as Chamber music is not conducted, each player must have an intimate knowledge of the other parts as well as having strong ensemble skills.  Clarinet Quintet A Clarinet Quintet is a work for clarinet and a string quartet (2 violins, viola, and cello). Mozart only completed one clarinet quintet. This work is one of the earliest and best-known works for the clarinet. It is an iconic work and is extremely popular because of its beautiful melodies. It is an example of the best-polished style of the 18th Century, with its clear form and balanced instrumental parts.

Stylistic Context

Formal Structure

Classical Sonata Form  Sonata form became the basis for most instrumental music in the Classical period. The point of sonata form is to create a unified piece filled with contrast as well as resolution from the conflict of themes. As the diagram to the left indicates, sonata form consists of three sections; the Exposition, Development and Recapitulation. Using the idea of a story as an analogy, a writer introduces characters and sets the scene at the start of the story (the exposition); the characters and plot are developed and expanded upon (the development) before all the strands are brought together to resolve and complete the story (recapitulation).  Click on the blue ‘Analysis’ icon above to continue...

THEMES

The Second Movement

The Third Movement

The Fourth Movement

CLICK ON THE INNER SECTIONS FOR THE MAIN ANALYSIS AND THE OUTER FOR EACH MOVEMENTS THEMES

The First Movement

Themes

Part 1: Bars 1 to 26

The first movement is in sonata form. Sonata form is a compositional structure that allows for contrast within a piece of music. In addition, the two elements of the string quartet and clarinet (solo woodwind) are themselves contrasting. Mozart has highlighted these differences with very contrasting melodic material.  The First Subject (Melodic Idea)  The movement immediately establishes a contrasting conversation between the string quartet and the clarinet. The first subject (melodic idea) opens with a serene chorale-like theme played by the string quartet which is followed by a virtuosic clarinet passage based on the A major arpeggio. The First SubjectChorale Melody (bars 1-7) The chorale melody is a very lyrical vocal style melody. It has a smooth contour which gently descends. The melody has motives grouped in 2 bar phrases. The soft dynamic and the legato playing help create a smooth, beautiful character. The pitch range of the melody is a 10th  (an octave plus 2 notes). The melody also consists of small intervals (mostly stepwise).  The first 2 bars have a descending motive, while in bars 3 and 4 the melody rises, finishing with an interrupted cadence (V-vi). Bars 5 and 6 complete the melody with a perfect cadence (V-I). The Harmony(bars 1 -7) In bars 1 -3, violin 1 and 2 play in 3rds and 6ths with the first violin and cello in contrary motion. Mozart has used the technique of paring (violin 1 and 2; viola and cello) to strengthen the opening idea. The writing in the inner parts (violin 2 and the viola) has a similar contour to the main melody before moving to a sparse accompaniment on and off the beat.  Bar 1 - Chord I (establish A Major) Bar 2 - Interrupted cadence V-vi Bar 3 - Chord ii Bar 4 - Interrupted cadence V-vi Bar 5 - Arpeggio movement on  chords IV and I Bar 6 - Begins with perfect cadence then chord V7. The trill emphasises the cadence and ii-V7. Bar 7 - ends with a perfect cadence establishing A Major. Clarinet Melody (bars 7-8) In contrast to the opening chorale the clarinet melody is lively and joyful. This melody provides contrast with the first Violin 1 theme with the diminution of note values as well as ascending and being triadic. After the initial arpeggio figure the melody descends with a pitch range of 2 octaves. The only accompaniment to the melody is the 2nd violin and viola playing chord V (E major) sfp (i.e. loud and then suddenly soft). This change in texture to the chorale melody adds another layer of contrast.  The First Subject  (Second Statement) Bars 9 – 17 make up the second statement of the first subject. It is essentially a repetition of the first statement with slightly different part writing in the second violin. Chorale Melody (bars 9-14) The second statement of the chorale melody is the same as the first with variations in the part writing. Clarinet Melody (bars 15 -17) Once again the chorale melody is followed by a 2 bar clarinet melody which gives the impression of conversation. The clarinet plays an arpeggio, which is still in A major but commences at a different position in the chord. The accompaniment to this melody is a sparse chord V sfp by 2nd violin and viola.  Completion of First Subject (bars 17-18) In bar 17, Violin 1 and 2 take up the clarinet’s arpeggio movement to give the impression of energetic conversation. Bar 18 is a diminution of bar 3 of the chorale theme treated as a sequence. The first subject ends in bar 18 with a perfect cadence (V – I) which is made clear in the cello part (sustained E stepping up to an A).  This melodic fragment in the cello is an inversion of the chorale theme ending. Transition/Bridge Passage (bars 19-41) A Bridge Passage provides a gradual transition to the second main melodic idea (or subject), which is usually in the Dominant Key. The bridge passage therefore effects a modulation to the key of the second subject. Bridge Passage (bars 19-22)  Bar 19 begins the modulating Bridge. The long clarinet melody here is a sequential pattern of arpeggio ideas, which are introduced by a rising chromatic figure. The acciaccatura emphasizes the brightness of the melody.  This clarinet melody is accompanied by a fragment of the chorale melody in violin 1 and 2 in 3rds underneath.  Mozart here displays unity and contrast as the opening clarinet figure is an inversion and diminution of the chorale melody underneath. Continuation of Bridge (bars 23-26) Bar 23 begins a brief conversation between the clarinet, violin 1 and violin 2. The clarinet melody concludes with a chromatic descent in bar 25 and the dominant key of E major is being foreshadowed. Notice the techniques of imitation and inversion.

Part 2: Bars 26 to 79

Continuation of Bridge (bars 26-30)  The clarinet melody introduced at bar 19 is now in the cello. The chorale melody begins in 3rds in the 2nd violin and viola. The viola melody becomes syncopated producing another contrast. This section ends in a perfect cadence in E major. Continuation of Bridge (bars 30-34)  The clarinet melody introduced in bar 19 moves to Violin 1 accompanied by the string ensemble in a homophonic texture. This section finishes with an imperfect cadence II-V in E major. Notice the use of imitation between violin 1 and cello. Also in the violin 1 the first note of each quaver pattern has the descending contour of the chorale theme. Continuation of the Bridge (bars 35-39)  Here is a conversation between the clarinet and first violin based on the clarinet melody introduced in bar 19 (imitation and inversion). The clarinet melody rises and the violin melody falls. Underneath, the lower strings play a motive based on the cadential ending of the first choral theme  Extension: at bar 35 Mozart uses the Neapolitan 6th chord. Investigate how this is used. Conclusion of the Bridge (bars 40 – 41)  Here is a distinctive perfect cadence in E Major (look at the bass notes), which ends the bridge passage and introduces the second subject. Notice the contrary motion effect between the clarinet and strings. Second Subject (bars 42-64)  The second subject introduces a complete melodic contrast. The melody is more dramatic in character than the first subject. This melody shows contrast in direction and intervals. First Statement of the Second Subject (bars 42-49)  The first statement of the melody in violin 1 shows contrast in direction and intervals with clearly defined phrases. The melody is in E major, the dominant key, which we arrived at via the bridge passage. This melody contrasts to the melodies of the first subject and bridge passage.  Contrast is also achieved with the pizzicato accompaniment in the cello and long sustained chords in the inner parts (violin 2 and viola). The texture here is homophonic –melody with a supported accompaniment - which comprises sustained notes by the violin 2 and viola with pizzicato arpeggios played by the cello. Second Statement of the Second Subject (bars 49-57) The melody of the second statement of second subject is played by the clarinet with slight variations in the melody. This melody moves into E minor and back to E major. (Notice the second phrase is an inversion of the first phrase). Violin 1, 2 and viola play syncopated chordal accompaniment patterns over the pizzicato arpeggios played by the cello. The chromatic movement and harmony here is very characteristic of Mozart’s late works. Notice the tonic pedal point ( E ) in the cello as well as the F major Neapolitan 6th. Conclusion of the Second Subject (bars 57-61)  Mozart concludes the second subject by developing its anacrusis as a sequence concluding with a perfect cadence in E major (V-1):  emphasized by a trill. Second Subject Theme B (bars 65-74)  While two subjects in the exposition was often the norm, Mozart in some of his later works chose to have more than 1 theme per subject. First Statement of the the Second Subject Theme B (bars 65-69)  Here Mozart introduces theme B of the second subject where the melody is shared between violin 1 and the clarinet. The 2 bar singing melody in the violin is answered by a rising sequence in the clarinet. The melody finishes with a perfect cadence in E major (V7-1). Second Statement of the 2nd subject theme B (bars 69- 74)  Mozart repeats this conversation however he extends the clarinet sequence. Note the use of augmentation in the cello part. Codetta (bars 75-79)  The Codetta serves the purpose of rounding off the exposition before the development begins. Here the codetta is 5 bars long and serves to conclude the exposition with a brief exchange in which the opening chorale returns quietly in the strings, followed by a brilliant and playful arpeggio in the clarinet on the dominant and tonic chords of E major. The cadence is emphasized by the dotted rhythmic patterns and the trills in the strings. Notice the imitation in the strings using the chorale theme.

DEVELOPMENT (bars 83-89)  Mozart makes a dramatic contrast beginning softly and with a light texture - violin 1 and 2 only in 3rds. It begins with a major 3rd in the 2nd violin and viola, then modulates to C major. The clarinet melody leads to a statement of the chorale melody, which is played by the whole ensemble for the first time in C major. The melody finishes with a perfect cadence in C major. From bars 89 -114 Mozart develops the arpeggio clarinet melody sharing it amongst the string ensemble. The accompaniment parts feature syncopation and suspensions. From bar 99 -111 the clarinet is playing arpeggios in quavers against the semiquavers in the strings.  A major ‘development' tool is that of modulation. Mozart modulates from C major passing through D minor – E minor – F#minor – B minor and returning to E major at Bar 111. Mozart alternates between E major and A minor chords in bars 112 -114. In bar 117 the dominant 7th of A major, an E chord, resolves to A major (tonic key) to begin the Recapitulation. RECAPITULATION (bars 118-124) Mozart makes a smooth transition into the Recapitulation. Here the clarinet joins the strings for the chorale melody. The clarinet extends the melody with a motive reminiscent of the clarinet melody ending in a perfect cadence in A major. All the melodies, which are now very familiar, are shared by all the instruments. bar 124 Clarient melody played by the first violin. bar 125  Theme 2 of the first subject against theme 1 of the 1st subject in violin 1 and 2 in 3rds. bars 131 & 136  Theme 2 of 1st subject is in the cello and theme 1 is in the 2nd violin and viola (3 part texture-polythematic). Notice the imitation between Violin 1 and cello. bars 137-138  Here is theme 2 of the 1st subject shared between the clarinet and 1st violin. Second Subject (major tonic key)  Played by 1st violin as in the exposition then taken over by the clarinet. Theme B - 2nd subject  This melody is shared between the 1st violin and clarinet. Notice the trill treated as a sequence in bars 182-184. Quote Bar 193 to End  The movement finishes with a brief conversation with the strings playing a fragment of the chorale melody and the clarinet finishing with an arpeggio flourish. The very definite perfect cadence in A major is again emphasized by the dotted rhythm in the strings and the trill. This movement demonstrates how Mozart always creates musical interest with contrasting themes, then by creating textural variety through manipulation of these themes. He also creates interest with chromatic harmony to provide tonal variety. Mozart all the time is extracting the most from his material and the development is a concentrated manipulation of ideas using modulation; imitation, augmentation, diminution and counterpoint. All this is achieved within in a concise formal structure demonstrating his genius.

Continue to the Second Movement

Part 3: Bar 83 to End

Theme 1 You will notice that it begins with a smooth descending contour and has a natural symmetry and direction. 1. Try to write your own melody using first minims then crotchets (use sequences)! 2. Where else can you find this theme in the first movement?  3. Is the theme repeated exactly as above all the time? Describe what is different.

Return to Analysis

Part 1: Bars 1 to 14

The second movement is in a three part form with the first section consisting of a 'song like' theme in the clarinet. The middle section is a short development section which is a dialogue between the clarinet and violin consisting of several themes. The 3rd section is a repeat of the first, in the tonic key, finishing with a semiquaver movement shared by the strings. SECTION A  This is one of Mozart’s most sublime melodies. It has all the characteristics of a song (or an aria from an Opera) with it is beautiful, smooth, flowing line. Mozart has captured the character of the clarinet with its velvety tone and purity of sound, choosing the registers carefully. The phrases are clearly defined with obvious cadence points.  The first long phrase of the melody can be subdivided into 4 smaller phrases which are perfectly balanced.  Bar 1 and 2 is the first perfectly arched phrase – a small rising leap of a 4th with the phrase then descending by step (a sighing motive). This creates a poignant dissonance with the accompaniment using chords I and IV beneath. Bars 3 and 4 are the 2nd phrase. This phrase perfectly balances the first with the rising interval at the beginning, but this time ending the phrase by rising in steps. The accompaniment is based on chords ii - V - I.  Extension: compare these opening bars to popular jazz harmony. Bars 5 to 6 are the 3rd (2 bar) phrase. Here the melody begins with a wider descending interval of a 6th making the melody more impassioned. The chromatic movement provides greater interest, finishing with a descending stepwise movement. Bars 7, 8 and 9 make up the 4th phrase. Beginning with an anacrusis this phrase gently rises by step before descending with a ‘sighing' motive. It is based on chords V7 - I - ii - V - I.  These 4 small phrases make up the first half of the melody, which ends on an imperfect cadence.  The second part of the melody provides contrast with a descending stepwise motive, before rising a 4th and hitting a climax by jumping a 5th before gradually descending and finishing with a 'sighing' motive. This 4 bar phrase is answered by a longer phrase (bars 14-20) with the clarinet suddenly leaping down and rising again with very large intervals before reaching a perfect cadence. This cadence is highlighted with the grace note and the dotted rhythm.  The leaps show the colour of the clarinet in the different registers and is a stroke of genius to bring this graceful gentle melody to a satisfying close. Mozart really knew how to write for the clarinet using register contrasts and wide intervals for emotional impact. The basset horn of Mozart’s time has very different timbral changes throughout its wide register.   In this opening to the 2nd movement Mozart has created contrast with the singing clarinet melody and the con sordino accompaniment in the strings. The upper strings provide a rocking-style accompaniment based on the diatonic chords whilst the cello clearly outlines the harmony.

Return to the First Movement

Part 2: Bars 14 to End

String Accompaniment & Cello Bass Line  The contrast of the pulsating quaver movement against the clarinet melody with its obvious breath marks provides contrast. The small links in the accompaniment make the melody more poignant e.g. bar 4 in the 1st violins.   Chromaticism (bars 11-14) In bar 13 there is a dissonance with an E major chord over an A bass leading to D7 with the C in the bass. In bar 14 this is a lovely example of subtle chromaticism. SECTION B (Bar 20) Here the first violin has a beautiful fragment of a melody, which jumps two octaves and descends by step. The clarinet interjects with an ascending contrasting melody featuring graceful ornaments. This little counterpoint continues until the end of bar 23 whilst the 2nd violin, viola and cello provide a gentle accompaniment. Bar 24 sees a continuation of the clarinet melody with its song like character. Violin 1 provides a lovely contrasting melody in counterpoint finishing at bar 27.  At bar 24 the 2nd violin doubles the clarinet’s stepwise melody in its lower register and is joined by the viola in bar 27 adding harmonic interest with imitative fragments. At bar 30 the cello takes up the melodic fragments of the 2nd violin and viola. Also at bar 30-31 is the dialogue between the first violin and clarinet with the song-like melody. The clarinet is answered with ascending semiquavers in the first violin. This is contrary motion leading from the clarinet. This idea is treated as a sequence in bar 32 and 33. Bar 33 begins the long sustained notes in the 2nd violin and viola creating beautiful suspensions whilst the clarinet plays long sustained, descending dotted minims. The semiquaver pattern continues as a sequence in the first violin. Bar 38 is a development of the melody first in the violin and imitated and extended by the clarinet. The rocking accompaniment is in the lower strings to support and colour the melody. Bar 45 Mozart continues the ascending semiquavers in the clarinet with the long sustained notes now in the first violin with suspension created by the 2nd violin and viola. The cross rhythms between the 2nd violin and viola create tension. Mozart is combining his ideas to create interest in the pitch material. In this very short development Mozart uses counterpoint and shares a variety of melodic material amongst the instruments whilst still focusing on the essence of song like themes. All of which are very emotionally charged.  Section A Returns (Bar 51) Mozart rounds off the movement with more intense accompaniment figures in triplets shared by the string quartet. The clarinet plays short reminiscences of the main melody and sinks into the bottom (Chalumeau) register. In this movement Mozart again demonstrates his genius with beautiful melodies whilst creating textural variety and harmonic tension. His melodic development again features imitation extended with fragmentation and counterpoint. Again he has planned this in a formal structure to give clarity and balance to his music.

Continue to the Third Movement

Theme 2Mozart’s second theme is in a different time signature and uses dotted rhythms. Can you see the rising and falling shape of the melody (almost like going up and down stairs). Write a melody that can be broken into two halves like the one above (we call this the antecedent and consequent). Then perform each other’s on your instruments to see if they can work together like a musical jigsaw puzzle!

Part 1: Bars 1 to 20

Return to the Second Movement

The third movement consists of a minuet and, unusually, two trios. Composers often used the minuet and trio form for a middle movement in a large-scale work.  The minuet immediately changes the mood from a song-like serenade to a societal dance, which is bright and elegant. A minuet had its origins in the Baroque period. It is a graceful dance in ¾ with a moderate tempo containing an emphasis on the first beat of the bar.  The minuet is in binary form (i.e. two parts, A and B). Both sections are similar. Section A  Section A is based on a simple graceful melody which is 8 bars in length and is divided into two symmetrical 4 bar phrases each beginning on an anacrusis. Bars 1-8  The first phrase begins with a descending movement utilising small steps with a descending 3rd after the first gesture. The cello bass line in contrast rises as an A major arpeggio and then descends as a D major arpeggio. The answering phrase begins with an ascending 4th falling a fifth before finishing in stepwise movement to a close in a perfect cadence. This is a very singable, perfectly shaped melody. In contrast the cello bass-line descends by step and has a resemblance to the opening clarinet melody. The chord progression is simple diatonic harmony establishing the tonic of A major. Bar 1 - Chord 1 (A)  Bar 2 - Chords l then V7 (E7) Bar 3 - Chords I - vi - ii  Bar 4 - Chord V, note the suspension in violins 1 and 2. On the last beat of bar the 7th is in the bass part and descends by step.  Bar 5 - Chord Ib - ii - vi  Bar 6 - Chord V - I - ii  Bar 7 - Chord Ic - V - I (over an E pedal in the cello). Section B (bar 9 after repeat) The melody is in the viola while the  cello is in 3rds and is based on bar 3 of the first section (treated as a sequence). Above this the first violin has a little chromatic semitone pattern which is played again up an octave and develops into a melody finishing in E major.  Bar 13 - The viola has the melody slightly varied. Bar 15 - The cello has the melody overlapping the viola melody.  Bar 17 - Violin 2 has the melody overlapping the cello melody. Here Mozart introduces a small contrapuntal section in the stings with each instrument playing independent melodies (based on variations of the main melody). The dissonances created by suspensions give a subtle twist to a simple minuet melody. Above this at bar 16 the clarinet takes over the semitone pattern before bringing this melodic fragment to a cadence point at bar 20. At bar 20 the semitone pattern moves to the cello whilst the 1st and 2nd violins take the theme in 3rds again treating it as a sequence. The clarinet sustains a dominant pedal before finishing with the semitone motive; which leads to the conclusion of the minuet melody harmonized by the string quartet.

Continue to the Fourth Movement

Bars 33-35 Binary Form has two clearly defined sections . In the second half of the minuet there are strong references to E Major (the dominant of A major) but the Minuet finishes strongly in A major (Tonic). The form is therefore a ‘rounded Binary' with the main idea of the first section returning briefly at the end.  In the 17th Century a Trio of 3 instruments was inserted as a contrasting dance movement between two minuets. When more instruments played the contrasting dance movement the name trio still remained. The Trio is also in Binary form.  Trio 1 This first trio is for the strings alone  (providing textural contrast). The Trio 1 is in A minor . It has a melancholy or wistful character, which is highlighted by the appoggiaturas. Violin 1 plays the melody with the lower strings playing a sparse accompaniment. Notice the cross rhythms created by the slurring.  Mozart creates a dramatic contrast in the melody at bar 7 with fp on the 2nd beat (creating barline displacement). Each of these fragments is repeated (42 and 43) on G7 to A minor, and again at bars (47 and 48) A minor to D minor.  SECTION A ends in C Major the relative major of A minor.  SECTION B uses the same material as the first section but Mozart passes through many keys for contrast - C major G major D minor E minor before returning to A minor.  The leap to the 7th (Bb) in bar 52 is a very poignant moment before resolving by step. The use of cross rhythms is very striking here. Note the dissonances in 57 and 58 on the fp which resolve onto the E major chord. These dissonances also emphasise the syncopation, adding to the character of the movement. Trio 2 The second trio is a clarinet solo over the strings. This trio takes the form of a Landler, which is a German folk dance in ¾. The German Landler was used by many composers in their works. Once again, the form is Binary. The melodic figures are based on arpeggio movements throughout.  The accompaniment figures are very simple - in the style of a folk dance. There are brief interchanges between the clarinet and the first violin, however the use of silences is very effective for variety in the  texture. Section A ends on a perfect cadence (Ic - V - I). Section B starts on chord V. The cello has the dominant pedal point and leads to a modulation of E major. The dissonances in Violin I with the minor 7th followed by the repeated major 7th highlights the syncopation and chord changes. This leads to the melody in the cello (on the dominant chord before returning to the tonic A Major) with the melody again in the clarinet.  This movement finishes with arpeggio movements in the clarinet and a very sparse string section. Notice the chords in the last few bars ii7 - Ic - V7 - I. These chordal sequences provide fills between the clarinet statements. The violin 1 uses an inversion of the clarinet rising arpeggio but also provides contrast in being shorter.   In summary the Minuet and Trio is a masterful movement full of textural contrast with rhythmic and harmonic subtleties. In a very short frame Mozart has created elegance and charm with unexpected twists and turns - all within the vehicle of a clearly defined structure. 

Part 2: Bars 33 to End

Continue to Theme 3b

Theme 3a Mozart is very clever at creating a melody out of very simple patterns, with easy to follow shapes.  1. Sing this melody as a class. 2. Using any instrument try to ‘make up’ an answer to this melody. The class sings and you echo back an answer. 3. What did you notice about the answers played by your classmates? Which were easier to remember?

Theme 3b Mozart makes use of different textures and accidentals (what we call chromatic or passing notes) in his melodies. Taking the melody you composed for Theme 3a, change its character to make it minor, busier, or add in passing notes (sharps or flats that ‘lead’ onto a note in your melody. Then show it to your teacher.

Return to Theme 3a

Return to the Third Movement

The 4th movement is an example of perfect symmetry. It opens with an 8 bar theme divided into two equal phrases.  Mozart achieves great contrast in the variations through subtle changes of mood (one is very dramatic). The brief transitions also provide surprise and contrast for the listener. Theme  The theme is divided into two 8 bar sections of varying colour and creativity. Section 1 In the first section the theme is divided equally into two, 4 bar phrases.  The theme begins with violin 1 and 2 in 3rds and the clarinet joins the ensemble in a chordal texture. The 2nd phrase has the same question or beginning, and is answered by a concluding phrase (perfect cadence) with the same orchestration. This theme is bright and cheerful which is made clear by the staccato, soft dynamic and the trill on the cadence points. Section 2  Mozart makes a clear contrast with lyrical melody mainly moving by steps in the first violin. This melody is treated contrapuntally in the viola. The cello clearly marks the root of the chords whilst the 2nd violin plays a simple arpeggio accompaniment. The staccato theme heard in the first section returns for the last 4 bars to conclude the statement of the main theme. Section 1 (Bars 17-20) In bars 17-20 the theme is in the Ist and 2nd violin in 3rds before being joined by the lower strings ending in an imperfect cadence. The clarinet plays a countermelody which is a very contrasting lyrical line. In bars 20-24 the theme is in the viola and cello and again completed by the string section finishing with a perfect cadence. Over this theme the clarinet continues with the countermelody treating the first bar as a sequence.  The continuation of the melody dropping a melody note down an octave adds interest with the low Chalameau register of the clarinet. Section 2 (Bars 25-32) Mozart varies the countermelody in the clarinet whilst the string quartet plays an accompaniment role. Mozart gives greater emphasis to the high melodic notes after the dramatic drop in register. These notes on the 2nd beat create a syncopated effect in contrast to the regular staccato melody of the theme. The cello outlines the dominant and tonic chords.  In bars 26-29 the strings again play the staccato melody – note the close imitation while the clarinet continues with the countermelody. The chromatic movement in the clarinet melody also adds great contrast to the broken chords. Variation 2 This is a rhythmic and melodic variation of the theme with the dotted rhythm making it exciting. Mozart adds to this by writing the accompaniment parts in the  second violin and viola into triplets. Again the cello is playing the root of the chords in a simple bass line.  At bar 37 the clarinet enters sustaining a long note before completing a simple countermelody.  Its tone colour uniquely moves over the ensemble. The triplet rhythm continues whilst the first violin punctuates with short fragments from the clarinet melody. It finishes with the dotted theme and the long sustained note in the clarinet with the countermelody being added to the texture. The ascending chromatic passage in the 1st violin contrasts well with the descending clarinet melody which is not in triplets or quavers.  Variation 3(bars 49-56) The theme is now quite ominous being in the key of A minor. The viola has a winding quaver melody with the 1st and 2nd violin playing a melodic and rhythmic variation of the theme in 3rds. The clarinet then joins in playing arpeggios.

Part 1: Bars 1 to 56

Variation 3 Section 2(bars 57-64)  The winding melody moves to the 1st violin for 4 bars which changes its character to be a little more ethereal. It moves back to the viola for the final 4 bars. The texture here is very sparse with the other voices playing melodic fragments.Variation 4  (bars 65-72) The theme is in the strings whilst the clarinet plays filigree arpeggio figures over the top (first 4 bars). The little piece of imitation in the viola after the long sustained note adds interest as well as the cello finishing off the motive with an upward inflection. In the second 4 bars the theme is in the lower strings with variation whilst the 1st violin plays semiquaver scale passages.Bars 73-80 In bar 72 Mozart harks back to variation one with the clarinet countermelody. This little melodic fragment is played as a sequence with variation. The first violin plays semiquaver arpeggios. After 4 bars the theme is played in the strings whilst the clarinet continues with the arpeggio movement. The theme played in rhythmic unison for emphasis and contrast with the virtuosic clarinet part. Transition 1(bars 81-84)  A transition of 4 bars introduces the 5th variation. This is a chordal sequence with arpeggios in the clarinet . Even in this brief section Mozart creates interest with imitation as well as ascending and descending passages. Adagio(bar 85) This seems like an operatic variation of the theme in the violin for the first section and the theme in the clarinet for the 2nd section In the clarinet melody the fast arpeggio chords create variation with ornamentation. This section is like a question and answer with the clarinet melody answering the violin with added flourishes.  Then the violin finishes the section with a very ornamented melody.  The accompaniment to the ornamented melody uses the sighing motive heard previously as well as melodic and rhythmic variations of the theme.  Transition 2(bars 101-104) This is a short melodic fragment treated as a sequence which ends on the dominant with a pause on the rest, before leading to a final variation.  These 2 bars serve as a transition and a breathing space before the final variation. Space can be music!  Final Variation(bar 106) In this variation Mozart states the theme in the strings and the clarinet adds a short countermelody before joining with the theme. Notice the ornaments on the 2nd beat of the clarinet melody? This emphasis of the 2nd beat contrasts Mozart’s use of the trill on different beats of the bar in each of the parts.  The theme in each of the voices is slightly varied with its own melodic interest whilst accompanying the main theme. Underneath, the cello has an independent line resembling the clarinet passages heard earlier. The contrast in melodic material and rhythm is masterful (such as the repetitions of the theme bars 114 -117).  In comparison to the first movement, here the texture changes with a pedal point in the viola with arpeggio interjections from the cello. At bar 118 Mozart has a 4 bar section with a series of diminished chords producing a sighing type motive from the strings over which the clarinet gradually, chromatically, descends. This idea is repeated again at bar 126 up a tone. At bar 130 the theme is restated with the dotted pattern rising. At bar 132 the theme is overtaken by the 2nd violin with a further variation and the hint of the chromatic descent. Notice the tonic pedal point in the cello from bar 130? The rest at bar 137 is the final breath before the last fragment of the theme.  The dotted motive is shared amongst the instruments ending with a perfect cadence. Mozart creates a very interesting final movement which is full of contrast and ingenuity. Again the clarity, balance and sheer beauty demonstrates that Mozart is a master of invention. This is the end of the analysis - To navigate away form this page use the top icon menu.

Part 1: Bars 57 to End

Theme 4 Mozart makes dramatic and colourful changes in each of his variations through rhythm, pitch, texture, modulation (changes of key) and more.  Notice how this theme needs an answer? (consequent). 1. Using the theme above can you describe how it changes in each of Mozart’s variations? 2. Using any of the melodies you have composed or performed, compose a variation of it using one of the Mozart-like techniques you observed in exercise one.

This resource was made thanks to: Ironwood with their live audio featured in each extract www.ironwoodchamberensemble.com Sibelius Notation software from which the score excerpts were made. Mrs Karen Carey, artisitic director at Santa Sabina College in NSW Australia for the analysis’. Tumult Hype for their application that allowed the creation of this resource. Rebecca Burgess for her incredible artwork featuring Mozart www.rebeccaburgess.co.uk

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The illustrations were drawn by: REBCCA BURGESS www.rebeccaburgess.co.uk

Karen Carey has worked in music education for 30 years. She was appointed Director of Music at MLC School in 1989, where she set about developing a comprehensive music program for all students. Under Karen's direction MLC presented 9 Biennial Opera House Concerts, all featuring commissioned works and toured internationally receiving acclaim for the high standard of performance and for the presentation of contemporary Australian Art Music. Her outstanding contribution to music education was recognized in 2007 when she was presented with a national award for excellence by the federal Education minister. Mrs Karen Carey is now Artistic Director at Santa Sabina College in NSW Australia.

Ironwood is an Australian-based ensemble, committed to exploring music of the Baroque, Classical and Romantic periods on early string and keyboard instruments. The ensemble was established in 2006 as a flexible group of players, drawing on a wealth of experience from across the globe. Ironwood believes that historically informed performances should be complemented with new material and has an active commissioning program for music on early instruments. The group performs widely and has produced recordings for ABC Classics and Vexations840. They have been Artists in Residence at the Bundanoon Trust NSW since 2007 and also run a Developing Artists program in Victoria and NSW, Australia.

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