DICTIONARY OF MUSIC - El Atril

80 FORM FORM
clearly by closes and half closes ; and the more
vital the division the stronger the cadence.
Both Haydn and Mozart repeat their cadences
in a manner which to modern ears often sounds
excessive ; and, as already pointed out, they are
both at times content to make mere ' business '
of it by brilliant passages, or bald chords ; but
in movements which were more earnestly carried
out the virtue of making the cadence also part of
the music proper, and not a mere rigid meaning-
less line to mark the divisions of the pattern,
was soon recognised. There were two ways of
effecting this ; either by allusion to the figures
of the subjects adapted to the form of the
cadence, or by an entirely new figure standing
harmonically on the same basis. From this
practice the final episode to the first part of the
movement was developed, and attained at times
no insignificant dimensions. But the Coda proper
had a somewhat different origin. In the days be-
fore Haydn it was almost invariable to repeat the
second half of the movement as well as the first,
and Haydn usually conformed to the practice.
So long as the movements were of no great length
this would seem sufficient without any addition,
but when they attained to any considerable
dimensions the poverty and want of finish in
ending twice over in precisely the same way
would soon become apparent ; and consequently
a passage was sometimes added after the repeat
to make the conclusion more full, as in Haydn's
well-known Quartet in D minor, op. 76, the first
movement of the Quartet in G (Trautwein, No.
56), the last movement of the Quartet in E,
No. 17, and many others. It seems almost
superfluous to point out that the same doctrine
really applies to the conclusion of the movement,
even when the latter half is not repeated ; since
unless an addition of some sort is made the
whole concludes with no greater force than the
half ; the conclusion being merely a repetition
of the cadence figure of the first half of the
movement. This case, however, is less obvious
than the former, and it is probable that the
virtue of the Coda was first observed in connection
with movements in which the second
half was repeated, and that it was afterwards
found to apply to all indiscriminately. A Coda
in both cases is to be defined as the passage in
the latter part of a movement which commences
at the point where the substance of the repeated
first part comes to an end. In Haydn codas are
tolerably plentiful, both in movements in which
the latter half is repeated and in movements in
which it is not. They are generally constructed
out of materials taken from the movement, which
are usually presented in some new light, or asso-
and the form
ciated together in a fresh manner ;
is absolutely independent. Modulation is rarely
to be found, for the intention of the Coda was to
strengthen the impression of the principal key
at the conclusion, and musicians had to be taught
by Beethoven how to do this without incessantly
reiterating the same series of chords in the same
key. As an instance of the consideration and
acuteness which characterise Haydn's very varied
treatment of forms may be taken the Coda of the
first movement of the Symphony in C, No. 1 of
the Salomon set. In this movement he misses
out certain prominent figures of the first section
on its repetition in the second half, and alter
passing on duly through the recapitulation of
the second section he takes these same omitted
figures as a basis whereon to build his Coda.
Many similar instances of well-devised manipulation
of the details of foi-m are scattered throughouthis
works, which show his remarkable sagacity
and tact. They cannot be brought under any
system, but are well worth careful study to see
how the old forms can be constantly renewed
by logically conceived devices, without being
positively relinquished.
Haydn represents the last stage of progress
towards clear and complete definition of abstract
Form, which appears in its final technical perfection
in Mozart. In Mozart Form may be
studied in its greatest simplicity and clearness.
His marvellous gift of melody enabled him to
dispense with much elaboration of the accepted
outlines, and to use devices of such extreme simplicity
in transition from one section to another
tliat the difficulty of realising his scheme of construction
is reduced to a minimum. Not that
he was incapable of elaborating his forms, for
there are many fine examples to prove the contrary
; but it is evident that he considered
obviousness of outline to be a virtue, because it
enabled the ordinary hearer as well as tlie cultivated
musician to appreciate the symmetrical
beauty of his compositions. Apart from these
points of systematic definition Mozart was not
an innovator, and consequently it will not be
necessary to point out his advances on Haydn.
But inasmuch as he is generally recognised as
the perfect master of the formal element in music
it will be advisable to give an outline of his
system.
The first section, which tends to mark clearly
the principal key of the movement, sets out with
the principal subject, generally a tune of simple
form, such as eight bars divided into corresjiondipg
groups of four (see the popular Sonata in C
minor). This is either repeated at once or else
gives place to a continuation of less-marked
character of figure, generally commencing on
the Dominant bass ; the order of succession of
this repetition and continuation is uncertain,
but whichever comes last (uidess the section is
further e.xtended)usually passes to the Dominant
key, and jiauses on its Dominant ; or pauses without
modulation on the last chord of a half close
in the original key ; or, if the key of the whole
movement be minor, a little more modulation
will take place in order to pass to the key of the
relative major and pause on its Dominant. The
second section— which tends to define clearly the