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Finale To The G Major Piano Sonata, K 283/189h - Is Anything But Incon

The document discusses Mozart's use of codas in his sonata-form movements. It analyzes several of Mozart's works and finds that codas were used more frequently than previously thought, appearing in about a third of the works examined. The codas often served to conclude melodic ideas and complete the musical structure rather than merely tagging on additional material.

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68 views2 pages

Finale To The G Major Piano Sonata, K 283/189h - Is Anything But Incon

The document discusses Mozart's use of codas in his sonata-form movements. It analyzes several of Mozart's works and finds that codas were used more frequently than previously thought, appearing in about a third of the works examined. The codas often served to conclude melodic ideas and complete the musical structure rather than merely tagging on additional material.

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Aurora Season
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© © All Rights Reserved
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ESTHER CAVETT-DUNSBY

that these are 'short and carefully kept subsidiary t


( 142) and thus implying that they are likely to be o
Beethoven's But Arnold Schoenberg, for one, wo
codas worth consideration, however short they may

Since many movements have no codas, it is evident th


considered as an extrinsic addition The assumptio
establish the tonality is hardly justified; it could sc
failure to establish the tonality in the previous sectio
difficult to give any other reason for the addition of
composer wants to say something more (Schoenber

Kerman says that 'Mozart often works without


this is the case in 'about half the sonata-form move
(: 142) The fact that Kerman is putting the cart befo
tells us how to identify a coda or its absence - shoul
that his cart is moving forwards there seems to be
textbooks on musical form, about what a coda act
and Ebenezer Prout - to name two bastions of tra
Britain - are at odds on this point, Macpherson im
rather earlier than Prout assumes to be the case (M
Prout 1895 155-6, 192)
Given that there is no consistent theoretical appro
article will take as its point of departure the au
notation The codas considered here, all from sona
after double barlines and repeat marks towards the
refer to such codas as 'formal codas') A search for th
Mozart's chamber and piano works - a sign which
English version of Riemann's Musik-Lexicon, is s
which a coda can begin' - revealed that, of those fir
sonata form (well over three-quarters of the total),
and that, of those finales which are in sonata form
total), seven have formal codas (Further statistics
below ) By the same definition, there are more
quartets and the quintets with and without piano, w
than in all the other chamber and piano works put t
Contrary to received opinion, even Mozart's shorte
finale to the G major Piano Sonata, K 283/189h
sequential The annotations on Ex la indicate that the
exposition cut across the four-bar hypermeasure
two bars before the formal coda (in Ex lb) have the
do not reproduce the same leading-note-to-tonic pro
That melodic progression is reserved for the coda
the end of the exposition melodically, whilst at the
more' through the completion of the metrical schem

32 MUSIC ANALYSIS 7:1, 1988

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137.189.171.235 on Mon, 11 Jan 2021 14:35:49 UTC
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MOZART'S CODAS

addition of a further hypermeasure (the last two bars o

Ex la Exposition:

' I I I -

103

Ex Ib Recapitulation:
_ 4 4

4 4 4
267 1
CODA Two extra bars
SI are implied
M -zi >I_

* Music examples by kind permission of B

MUSIC ANALYSIS 7:1, 1988 33

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137.189.171.235 on Mon, 11 Jan 2021 14:35:49 UTC
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