EXAMPLE FOR ANALYSIS, No. 16.
Mozart: Andante from String Quartet[34] in C-major, dedicated to Haydn.
In Chapter IX reference has been made to the influence of Haydn and Mozart on each other. Mozart undoubtedly profited by Haydn's labors in the quartet form, and Haydn, in turn, shows in his latest quartets that he had learned something from his younger contemporary. Ever since this form came into being it has been a favorite one with composers, for in it they are able to express musical ideas in all their purity and divested of extraneous influences. For this reason the quartet became the medium for their most advanced ideas. Both Mozart and Beethoven wrote quartets that were far in advance of their time, and that were subjected to harsh criticism by their contemporaries. The introduction to the quartet from which this andante is taken is a case in point. The harmonies, within the space of a few measures, wander far from the home key, and commit what were then unpardonable sins of cacophony. A brief quotation from the beginning of this introduction is shown in Figure XLV. The harsh dissonances between the A-flat in the first measure of the viola part and the succeeding A-natural in the first violin part should be noted.
(a)
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(b)
FIGURE XLV.
The vague harmonies of this introduction serve as an admirable foil to the bright opening of the first movement. The ?thetic purpose they serve is one of which Beethoven also made constant use when he desired to enhance the charm of a passage by vivid contrast of color. The opening theme of the movement (shown at (b) in Figure XLV) will be seen to be foreshadowed in the introduction (Figure XLV (a); viola part, measure 3, first violin part, measures 4-5). From the point of view of both harmony and thematic development this introduction is therefore extremely modern.
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FIGURE XLVI.
Of this andante by Mozart we can say unreservedly that it is a perfect specimen of pure classic beauty. Its translucent harmonies, its exquisite curve of melody, its clear outlines, all make it a model of its kind. The chief theme, extending to measure 12 (see Figure XLVI), should be compared with those of Handel, Haydn and Mozart shown in previous chapters. This comparison will reveal an important element in the present theme, namely, the element of organization. In our earliest musical examples quoted in the first two chapters there was a conspicuous lack of variety. "Three Blind Mice" contented itself with two motives, which were repeated over and over again. "Barbara Allen" was made up of one rhythmic figure, constantly reiterated, and even in the themes of Philip Emanuel Bach and Haydn there were many rhythmic repetitions. In the Haydn quartet movement there were but two motives, and while they were used with the greatest skill, the theme itself was entirely constructed from them. In Mozart's theme, on the contrary, there is hardly a single repetition of rhythm. An examination of the melody will reveal how great a variety is imparted to it by the many different rhythmic figures. Yet there is no sense of vagueness about it; it holds together firmly. This quality distinguishes all highly organized melodies, and is never found in folk-music. The same element may be observed in a developed language in which words have come to be flexible in their meaning, and more or less complicated sentences are possible. In this theme one does not get the sense of what the composer is trying to say until the melody ends; in simple themes, made up by repeating the same motive, one can foresee the end long before it is reached. Themes like this beautiful one of Mozart are possible only after art has become well developed, and after people in general have become sufficiently familiar with the phraseology of music to be able to follow complicated musical sentences.
A further charm is added to this movement by the free and flowing counterpoint of the several parts. This is an essential element in the string quartet, since without it, there being little variety in the tone of the four instruments, monotony would result.