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Lauren Lazzari
Dr. R. Douglas Helvering
Musicianship II, 2:10-3:10 MWF
19 November 2012
Mozart’s dainty sonata
When one encounters a new piece of music, he must observe all that is on the page. These
observations, along with taking time to consider the composer’s artistic intentions are imperative steps
for musical success. In 1756, virtuoso Johannes Chrysostomus Wolfgangus Theophilus Mozart was born
(Introduction). Mozart proved to be extremely gifted from a very young age. He wrote a variety of
pieces, several being keyboard sonatas. Wolfgang Amadeus Mozart composed his seventeenth piano
sonata in Munich in 1775 (Eisen). At the young age of 19, Mozart composed Sonata XVII, among other
sonatas. This three movement sonata is a prime example of Mozart’s musical excellence.
Movement two of Sonata XVII, also known as K282, is composed of two “menuettos,”or
minuets. Menuetto I starts in the key of Bb major. A melodic line found in the right hand occurs for
approximately 4 measures. Minuets have been describe by an Oxford Music online scholar as being
“characterized by a regular phrase structure (usually of four bars)…and an uncomplicated melodic line”
(Thompson). Throughout the minuet, a rhythmic motive of dotted eighth-sixteenth note is used
frequently. By the time the piece progresses to measure 9, Mozart has changed key. Because the minuet
is fast, the modulation is usually perceived as abrupt. When taking a closer look, however, there is a
defined pivot in tonality. Mozart modulated by use of a common chord modulation. The pivot chord
found on beat two of measure 9 is a V chord in the key of Bb and I6 chord in the key of F (Sonata XVII,
261). The use of accidentals like the dotted eighth E natural in measure 11 indicates that a new note is
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being tonicized. One can consider measures 10 through 12 as tonic
expansion because they further establish the new key, F major.
In the third beat of measure 12, Mozart used secondary chords to
progress the minuet. Figure 1 (see left) shows this third beat along
with subsequent measures 13 and 14. Measure 13 uses similar
chromatic motion between the soprano and bass lines. This chromatic motion creates secondary leading
tone seventh chords. This block of secondary chromaticism adds interest to the middle of the first
minuet.
In measure 18 the melody from the first 4 measures returns but in the left hand this time. The right hand
takes over the supporting voices; the two parts have switched. The returning melody justifies a
modulation back to the key of Bb major. The minuet concludes in a perfect authentic cadence in the
home key of Bb major. This first movement contains two main sections: measures 1 through 12 make up
section A and measures 13 through 18 make up section B. Measures 18 (beat 3) through measure 32 are
a return of the A section. Mozart also chose to add in repeats of each section. The full form of this
minuet is AABA’BA’, or rounded binary. An important characteristic of rounded binary is a return of
the A section. One cannot dismiss the returning A section melody even if it is an octave below the
original material. The phrases found in the first minuet are asymmetrical contrasting, and they compose
contrasting periods. The contrast between the two sections of Menuetto I make this part of the
movement extremely effective. Mozart’s natural gift artistry certainly shines through this minuet.
The word “menuetto,” which titles this specific movement must be explored in order to
appreciate Mozart’s artistry. One source, thefreedictionary.com, defines menuetto as “a piece of music
composed…in the rhythm of dance, sometimes as a movement in a suite, sonata, or symphony.”
Menuetto, or minuet, is also defined as “French menuet… small, dainty (from the small steps
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characteristic of the dance)” (Menuetto). Wolfgang Amadeus Mozart’s Menuetto I and II sound like
their definition. This is no coincidence. Mozart had the definition of dainty in his mind while composing
this movement. Measures 1 through 4 of Menuetto I are written with both parts in treble clef. Choosing
to write both hands in this way forces the harmonies to sound lighter. This light harmonic sound reflects
the sound of a couple’s feet while dancing. The repeated rhythmic motive (mentioned in paragraph two)
occurs throughout the first line in Menuetto I. The motivic anacrusis followed by measure one sounds
like someone is being lifted, and then danced with on light feet. The rhythmic motive found throughout
the minuets is a direct reflection of Mozart’s incredible mind. It is astounding how nineteen-year-old
Mozart could write music that today’s composers could spend a lifetime perfecting. Mozart’s musical
imagery effortlessly matches the modern day definition of minuet.
Wendy Thompson of Oxford Music online defines “minuet” as an instrumental form found in
“the Classical symphony, sonata and string quartet.” Mozart’s Sonata XVII movement II certainly fits
Thompson’s addition characterizations: minutes typically feel like they’re in “a stately dance triple
metre.” The most common form minuets are written in is binary form. This movement of Sonata XVII is
the quintessential example of the difference between rounded binary form and ternary form. The two
forms are similar because the material in the A section repeats; however, hey differ in their dependence.
In ternary form the B section can stand on its own, and doesn’t share as much content with the A
section. Also, the B section in ternary form is often perceived as longer. G. M. Tucker speaks on ternary
form:
Pieces in ternary form may be quite long, because the sections, being self-contained, will often
have a formal shape of their own. For example, each of the three sections may itself be binary in
structure. This is particularly true of the Classical minuet and trio, where the ternary structure
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arises from the repeat of the minuet after the trio, though each section may be in either binary or
ternary form.
The B section in rounded binary is typically related to the content of the A section and is much shorter
than that of ternary form. Knowing the definition of these two forms is essential to understanding the
form of movement II entirely.
Menuetto II differs in sound from Menuetto I, but the two certainly go together. Mozart wouldn’t
have put them in the same movement if there wasn’t a reason; his compositions were intentional. His
insightful and gifted mind shines through this sonata movement in such a way that is too wonderful to
comprehend. Musicians of today are blessed for having access to Mozart’s compositions. Mozart at
nineteen thought more skillfully than the current composer does in a lifetime. Mozart doesn’t make the
daintiness as apparent in Menuetto II. There are hints of musical dance and light harmonic sound, but no
dramatic images of dancing or lilting. Menuetto II is less buoyant than Menuetto I.
In measure 34, Mozart uses the same technique as in measures 1 through 4. The left hand
accompaniment is written in treble clef. This helps the music sound lighter and emote a loftier sound.
The melodic theme begins halfway through measure 34 and continues through measure 41. This theme
contains rhythms such as 4 sixteenth notes, and 2 triplets in the same measure. The contrast in division
of the large beat into groups of 4 and groups of 3 brings out the excitement Mozart intended. The
melodic theme also contains staccato notes contrasting against legato notes. This reinforces the
definition of minuet. The staccato notes sound more regal while the legato notes remind the listener that
there was daintiness and sensitivity in the previous menuetto. This Menuetto begins in the key of Eb
major and progresses to the subdominant by measure 39. The piece continues to move to the dominant
by measure 41. The A natural in the end of measure 42 is an indicator that the music is modulating. This
modulation is confirmed by the end of measure 49 when the music cadences perfectly in the dominant
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key of Bb major. The melodic theme returns halfway through measure 59 and develops through the end
of the piece. The form of menuetto II is also rounded binary. The B section is so closely related to the A
section it cannot stand on its own. The B section also isn’t long enough to be considered ternary. The
primary periodic structure of Menuetto II is a contrasting asymmetrical period. This movement is unique
and interesting because Mozart uses extraordinary rhythms. The contrasting style of quadruple
subdivision of the beat against the subdivision of triple subdivision is simply gorgeous to the ear.
Menuetto II, like Menuetto I, is an equally beautiful piece of art.
If this movement had to have an overall form, one should label it ABA, or ternary form. The
three sections, Menuetto I, Menuetto II and De Capo can stand alone and still sound final, but each
section has a formal structure of its own. Mozart’s organizational skills are unbelievably intelligent.
Mozart’s Menuetto I and II make up the dainty movement that is Sonata XVII. The
contrast within each menuetto really makes one wonder how blessed and gifted the young man
was. Mozart, in his simplest form, is a prodigy. His legacy lives on in the world today. He
inspires young musicians to appreciate the music they are exposed to through their studies.
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Works Cited
Eisen, Cliff et al. "Mozart." Grove Music Online. Oxford Music Online. Oxford University Press. Web.
16 Nov. 2012.
"Introduction." Mozart Nineteen Sonatas. N.p.: Schirmer's Library of Musical Classics, n.d.. Print.
"Menuetto." The Free Dictionary. Farlex, 14 Nov. 2012. Web. 14 Nov. 2012.
"Sonata XVII." Mozart Nineteen Sonatas. N.p.: Schirmer's Library of Musical Classics, n.d. 261-62.
Print.
Thompson, Wendy and Jane Bellingham . "minuet." The Oxford Companion to Music. Ed. Alison
Latham. Oxford Music Online. Oxford University Press. Web. 16 Nov. 2012.
Tucker, G. M. and Lalage Cochrane . "ternary form." The Oxford Companion to Music. Ed. Alison
Latham. Oxford Music Online. Oxford University Press. Web. 19 Nov. 2012.