VII. FORM OF MOZART'S ANDANTE.
Here, as in the Haydn slow movement, we find another example of sectional form. It may be tabulated as follows:
TABULAR VIEW OF SECTIONS IN MOZART'S ANDANTE.
| I. | II. |
| Modulating from tonic to dominant and containing theme I, episode theme (13) and theme II (26), 1-44. | Modulating from dominant back to tonic with the same succession of themes. Coda (102), 54-114. |
The sub-divisions of the above should be carefully noted (as indicated by the entrance of the different themes). These sub-divisions break the piece up into smaller sections, each distinct from the others. A particularly interesting and beautiful effect is produced in the coda (measures 103-5) by the augmentation of the phrase from measures 1-2, which is reproduced in longer notes against a familiar counterpoint.[35]
SUGGESTIONS FOR COLLATERAL READING.
C. H. H. Parry: "The Evolution of the Art of Music," Chapters XI and XII. W. H. Hadow: "Sonata Form," Chapter X. D. G. Mason: "Beethoven and His Forerunners," Chapters V and VI.
FOOTNOTES:
[31] The instruments employed in the string quartet are two violins (first and second) viola, and violoncello.
[32] Published in miniature score, Payne edition, price 20 cents. This quartet also appears among Haydn's works in the form of a sonata for violin and piano.
[33] See Mason's "Beethoven and his Forerunners," pages 232-240.
[34] Published in miniature score, Payne edition, price 20 cents.
[35] A reference to the full score of this movement will reveal certain crossings of the lower instruments over the upper by which interesting effects of tone color are produced.