DICTIONARY OF MUSIC - El Atril

FORM FORM n
complementary key of the movement, whether
Dominant or Relative major to the original
usually starts with a new subject somewhat contrasted
with the features of the tirst section, and
may be lollowed by a I'urther accessory subject,
or derivative continuation, or other form of pro-
longation, and so passes to the frequent repietition
of the cadence of the complementary key, with
either brilliant passages, or occasionally a definite
fresh feature or suliject which constitutes the
Cadence episode of the first part. These two
sections—constituting the first half of the move-
ment—are usually repeated entire.
The second half of the movement commences
with a section which is frequently the longest
of all ;
it sometimes opens with a quotation of
the first subject, analogous to the old practice
common before Haydn, and proceeds to develop
freely the features of the subjects of the first part,
like a discussion on theses. Here cadences are
avoided, as also the complete statement of any
idea, or any obvious grouping of bars into fixed
successions ; modulations are constant, and so
irregular that it would be no virtue to find the
succession alike in any two movements ; the
whole object being obviously to produce a strong
formal contrast to the regularity of the first half
of the movement ; to lead the hearer through
a maze of various keys, and by a certain artistic
confusionof subject-matter and rhythm to induce
a fresh appetite for regularity which the final
return of the original sulyects and sections will
definitely satisfy. This section Mozart generally
concludes by distinctly modulating back to his
princijial key , and cither pausing on its dominant,
or passing (perhaps with a little artistically
devised hesitation), into the first subject of the
movement, which betokens the commencement
of the fourth section. This section is usually
given witliout much disguise or change,^ and if
it concludes with a pause on the Dominant chord
of the original key {i.e. the final chord of a half
close), will need no further manipulation, since
the second subject can follow as well in the
original key as in that of the Dominant, as it
did in the first part. If, however, the section
concludes on the Dominant of that Dominant
key in the first half of the movement, a little
more maniptulation will be necessary. Mozart's
device is comnjonly to make some slight change
in the order of things at the latter part of the
section, whereby the course of the stream is
turned aside into a Sub-dominant channel, which
key standing in the same relation to the ])rincipal
key that the principal key stands to the Domin-
ant, it will only be necessary to repeat the latter
part of the section in that key and pause again
on the Dominant of tlie original key, in which
the second section of the first half tlien follows
simply in the same order as at the first. H the
' 1 In the first movement of the Jupiter ' Symphony so exact is the
repetition, that in one of the editions a passage of twenty-one bars is
not reprinted, but a reference * Da
at the beginning of tlie Allegro.
VOL. II
Capo ' is made to its occurrence
principal key of the movement happens to be
minor, and the second section of the fiist ])art
to be in the relative major, its reappearance in
either the major or minor of the pirincipal key
depends cliieUy on its character ; and the passage
that led to it by modulation would be eitlier
omitted altogether or so manipulated as not to
conclude out of the principal key.
With this simple order of rejiroduction of the
first two sections Mozart is generally contented,
ami the little alterations which he does occasionally
make are of a straightforward nature, such
as producing the second subject before the first
(as in a Sonata in D major composed in 1778),
or producing the second subject in the Dominant
key first and repeating it in the principal key
(as in a Sonata in C composed in 1779). The
whole of the latter half of the movement is
frequently repeated, and in that case generally
followed by a Coda—as in the last movements
of Quartets in G minor No. 1, and A, No. 5,
and D, No. 10 ; first movements of Quartets in
Bb, No. 2, and D, No. 10 ; slow movement of
Quartet in F, No. 8 ; first movement of Sonata
in C minor ; and of Quintets in G minor, D,
and Eb ; and last movement of the 'Jupiiter'
Symphony. The Coda is generally constructed
out of prominent features of the movement,
presented in some new light by fresh associations
and fresh contrasts. It is seldom of any
great length, and contains no consjiicuous modulation,
as that would have been held to weaken
the impression of the priucijial key, wdiich at the
conclusion of the movement should be as strong
as possible. In a few instances there are codas
without the latter half of the movement having
been repeated. Of this there is at least one very
beautiful instance in the short Coda of the slow
movement of the Quartet in Bb, which is constructed
out of ejaculatory fragments of the first
subject, never touching its first phrase, but
passing like a sweet broken reminiscence. It
must be borne in mind that this scheme is but
a rough outline, since to deal with the suljject
completely would necessitate so much detail as
to preclude all piossibility of cleainess.
It is commonly held that the influence of
Mozart upon Beethoven was paramount in his
first pieriod ; but strong though the influence of
so great a star must inevitably have been upon
the unfolding genius, his giant spiritsoon asserted
itself; especially in that which seems the very
marrow of his works, and makes Form appear in
an entirely new phase, namely the element of
universally distributed intensity. To liim that
as hateful as
byword ' ' brilliant passages was
' Cant'toGarlyle. To him bombast and gesticu-
lation at a particular spot in a movement— just
because certain supposed laws of form point to
that spiot as requiring bustle and noise—were
impossible. If there is excitement to be got up
at any particular point there must be something
real in the bustle and vehemence ; something
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