Mozart's Music of Friends: Social Interplay in the Chamber Works

MEDIA KIT About the Book: www.MozartsMusicofFriends.com Media inquiries: [email protected] Publication May 2016 Format Hardcover (also available in eBook format) ISBN 9781107093652 List Price $120 / £ 74.99 Contents 325 pages (with 13 illustrations and 47 musical examples) Companion Web Features – available free at www.MozartsMusicofFriends.com: § 10 video animations (based on original chamber-music recordings by the author and colleagues), allowing the book’s musical analyses to come alive in real time § world-premiere recording of an 1803 arrangement of Mozart’s Quartet in D Minor (K. 421) as a French-language coloratura aria sung by Dido addressing Aeneas § two bonus chapters to supplement and amplify the discussion in the book § gallery of 61 paintings, drawings, and prints, offering rare glimpses of chamber-music practices dating from around Mozart’s period § anthology of 40 foreign-language historical texts quoted in the book Praise for Mozart’s Music of Friends “Klorman’s love of his subject is truly infectious. His analyses resemble a good quartet rehearsal – a medium he knows very well from the viola player’s seat.” – Roger Tapping, Juilliard String Quartet “Through penetrating historical and music analyses, Mozart’s Music of Friends helps vivify this wonderful music in a manner that is refreshingly new.” – L. Poundie Burstein, Hunter College and the Graduate Center, CUNY “Klorman fundamentally rethinks the social and behavioral bases for our understanding of a core repertoire. Highly readable, entertaining, and thought provoking.” – W. Dean Sutcliffe, The University of Auckland “An appealing aspect of Klorman’s book is its willingness to play: to indulge in fantasy language that mimics how musicians . . . might speak with one another about what they are doing . . . . Refreshingly perceptive, and invariably assuring us that we are in the company of a sensitive and knowledgeable musician.” – Patrick McCreless, Yale University About Mozart’s Music of Friends In 1829 Goethe famously described the string quartet as “a conversation among four intelligent people.” Inspired by this metaphor, Edward Klorman draws on a wide variety of sources to explore Mozart’s chamber works as “the music of friends.” Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer’s sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse – characters capable of surprising, seducing, outwitting, and even deceiving one another musically. The book is accompanied by Web Resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble. About the Author Edward Klorman is Assistant Professor of Music Theory and Viola at Queens College and The Graduate Center, City University of New York (CUNY). He also teaches graduate analysis seminars and chamber music performance at The Juilliard School, where he was founding chair of the Music Theory and Analysis department. Committed to intersections between musical scholarship and performance, he currently serves as co-chair of the Performance and Analysis Interest Group of the Society for Music Theory. He has performed as guest artist with the Borromeo, Orion, and Ying Quartets and the Lysander Trio, and he is featured on two albums of chamber music from Albany Records. He has published and presented widely on topics in the performance of eighteenth-century chamber music. For more information, visit www.edwardklorman.com. EXCERPT The following pages provide the front matter, Chapter 1 (excerpt), and index from Mozart’s Music of Friends. Media inquiries may be addressed to: [email protected]. Frontispiece: Artist unknown, String Quartet Playing under a Bust of Mozart, nineteenth century. Lithograph, likely based on a painting (whereabouts unknown). Czech Museum of Music, National Museum, Prague. Mozart’s Music of Friends Social Interplay in the Chamber Works edward klorman Foreword by Patrick McCreless University Printing House, Cambridge CB2 8BS, United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107093652 © Edward Klorman 2016 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2016 Printed in the United Kingdom by TJ International Ltd. Padstow Cornwall A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Names: Klorman, Edward, 1982– Title: Mozart’s music of friends : social interplay in the chamber works / Edward Klorman ; foreword by Patrick McCreless. Description: Cambridge : Cambridge University Press, 2016. | Includes bibliographical references and index. Identifiers: LCCN 2015035033 | ISBN 9781107093652 (Hardback : alk. paper) Subjects: LCSH: Mozart, Wolfgang Amadeus, 1756–1791–Criticism and interpretation. | Chamber music–18th century–History and criticism. Classification: LCC ML410.M9 K78 2016 | DDC 785.0092–dc23 LC record available at http://lccn.loc.gov/2015035033 ISBN 978-1-107-09365-2 Hardback Additional resources for this publication at www.cambridge.org/9781107093652 Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. In memoriam CHARLES ROSEN 1927–2012 Classic textures have strong mimetic values. Individual voices or parts in [a chamber] ensemble can move with or against each other much as actors or dancers do on the stage. Their musical figures are like gestures, taking on bold relief in the free and varied interplay of classic part-writing. The typical sound of classic instrumental music – transparent, with neat and uncluttered layouts and luminous, balanced sonorities – promotes this “little theater.” – Leonard G. Ratner, Classic Music: Expression, Form and Style (New York: Schirmer, 1980), 118 Contents List of figures [page viii] List of music examples [x] Foreword by Patrick McCreless [xiv] Preface [xxi] Acknowledgments [xxvii] About the web resources [xxx] part i historical perspectives [1] 1 The music of friends [3] 2 Chamber music and the metaphor of conversation [20] 3 Private, public, and playing in the present tense part i i analytical perspecti ves [73] [109] 4 Analyzing from within the music: toward a theory of multiple agency [111] 5 Multiple agency and sonata form [156] 6 Multiple agency and meter [198] 7 An afternoon at skittles: analysis of the “Kegelstatt” trio, K. 498 [267] Epilogue [289] Bibliography [298] Index [318] vii Figures viii Frontispiece: Artist unknown, String Quartet Playing under a Bust of Mozart, nineteenth century. Lithograph, likely based on a painting (whereabouts unknown). Czech Museum of Music, National Museum, Prague. [page ii] 1.1 Heliogravure by Franz Hanfstaengl, 1907, after Julius Schmid, Haydn Quartet, c. 1905–6 (painting now lost). Vienna City Museum. Reproduced by permission. [5] 1.2 String quartet table (Quartetttisch), late-eighteenth century. Kunsthistorisches Museum, Vienna. Reproduced by permission of the KHM-Museumsverband. [7] 1.3 Detail from title page of Haydn, Piano Trio, Hob. XV:10. Vienna: Artaria, 1798. Reproduced by the permission of the Jean Gray Hargrove Music Library, University of California, Berkeley. [8] 1.4 Gabriel Jacques de Saint-Aubin, The Musical Duo, c. 1772. Watercolor, gouache, brown and black ink, and graphite. The Fine Arts Museums of San Francisco. Reproduced by permission. [8] 1.5 Nicolaes Aartman, Interior with a Musical Gathering, c. 1723–60. Graphite and watercolor. Rijksmuseum, Amsterdam. Reproduced by permission. [9] 2.1 Title page of Haydn, String Quartets, op. 1, nos. 1–4. Paris: La Chevardière, [1764]. Reproduced by the permission of the Jean Gray Hargrove Music Library, University of California, Berkeley. [31] 2.2 Jeremy Ballard, caricature of Amadeus Quartet first violinist Norbert Brainin (left) and violist Peter Schidlof (right) performing the Mozart Sinfonia concertante. Reproduced by permission of Kay Ballard. [40] 3.1 Johann Ernst Mansfeld, Private Concert during Court Mourning. Engraving published in Joseph Richter, Bildergalerie weltlicher Misbräuche: ein Gegenstück zur Bildergalerie katholischer und klösterlicher (Frankfurt and Leipzig, 1785), 38. Reproduced by permission of the Burke Library, Union Theological Seminary. [93] list of figures 3.2 Detail from Antoine Jean Duclos, The Concert, 1774. Etching and engraving after Augustin de Saint-Aubin. Image copyright © The Metropolitan Museum of Art, New York. Image source: Art Resource, NY. Reproduced by permission. [99] 5.1 The Adventures of a G♭ in Piano Quartet in E♭ Major, K. 493, Larghetto (ii) [196] 6.1 Metrical preference rules (MPRs), adapted from Lerdahl and Jackendoff [199] 6.2 Metrical Projection (from Danuta Mirka, Metric Manipulations in Haydn and Mozart, Ex. 1.13, © 2009 Oxford University Press). Reproduced by permission. [203] 7.1 Johann August Rosmaesler. Detail from title page of Franz Seydelmann, Sechs Sonaten für zwo Personen auf Einem Clavier. Leipzig: Breitkopf, 1781. Reproduced with the permission of the Nederlands Muziek Instituut, The Hague, The Netherlands. [272] ix Music examples x 0.1 Haydn, String Quartet in B♭ Major (“La chasse”), op. 1, no. 1, Presto (i) [page xxi] 2.1 Haydn, Sinfonia concertante in B♭ Major, Hob. I:105, Allegro con spirito (iii), final soli [38] 2.2 Mozart, Sinfonia concertante in E♭ Major, K. 364, Presto (iii), final soli [39] 2.3 Haydn, String Quartet in G Major, op. 77, no. 1, Allegro moderato (i), opening a. Score [43] b. Recomposition of mm. 11–14 [45] 2.4 Momigny, arrangement of Mozart, String Quartet in D Minor, K. 421, Allegro moderato (i) (from Cours complet d’harmonie et de composition [Paris, 1806], Plate #30) a. Facsimile of first page. Reproduced by permission of the Nederlands Muziek Instituut, The Hague, The Netherlands. [54] b. “Commentary” by Aeneas (Enée) [55] c. Statements by the Chorus [56] d. Coda [57] e. Development [63] 4.1 Mozart, Piano Quartet in E♭ Major, K. 493, Allegretto (iii) [112] 4.2 Mozart, String Quartet in G Major, K. 387, Molto allegro (iv) [119] 4.3 Mozart, Duo in B♭ Major for Violin and Viola, K. 424, Allegro (i) [137] 4.4 Schubert, Sonata in A Minor for Arpeggione and Piano, D. 821, Allegro moderato (i) [139] 4.5 Mozart, Clarinet Quintet in A Major, K. 581, Allegro (i), subordinate theme [142] 4.6 Mozart, Piano Quartet in E♭ Major, K. 493, Allegro (i), subordinate theme a. Score [145] b. Normalized model (antecedent plus continuation) [149] c. Expansion of basic idea and contrasting idea [149] list of music examples ‹ ‹ ‹ ‹ 4.7 Phrase (Einschnitt) expansion through partial rhythmic augmentation (from Johann Philipp Kirnberger, Die Kunst des reinen Satzes, vol. 2, pt. 1 [Berlin, 1776], 146) a. Four-bar model [149] b. Five-bar expansion [149] 4.8 Mozart, Piano Sonata in A Minor, K. 310, Allegro maestoso (i), end of exposition [153] 5.1 Mozart, Sonata in E Minor for Piano and Violin, K. 304, Allegro (i), exposition [161] 5.2 Mozart, Piano Quartet in E♭ Major, K. 493, Larghetto (ii), exposition [169] 5.3 Recomposition of mm. 19–22 [174] 5.4 Recomposition of mm. 23–27 [176] 5.5 Transformation of the breakthrough idea [177] 5.6 Identical scale degrees in opening and closing themes [178] 5.7 A subtle motivic repetition (B♭–C–D–E♭) a. Breakthrough idea (violin) [178] b. Closing theme (piano, right hand) [178] 5.8 Mozart, Piano Quartet in E♭ Major, K. 493, Larghetto (ii), development [182] 5.9 Recomposition of mm. 47–50 [184] 5.10 A comparison of breakthrough idea statements a. Original statement [186] b. Development [186] 5.11 Recomposition of mm. 56–59 [188] 5.12 Breakthrough motive (5–6–7–1) in the retransition a. Original breakthrough idea (violin) [190] b. Canonic treatment in the retransition [190] 5.13 Mozart, Piano Quartet in E♭ Major, K. 493, Larghetto (ii), recapitulation [192] 6.1 Mozart, String Quartet in F Major, K. 590, Menuetto: Allegretto (iii) a. Score [206] b. Recomposition of consequent phrase [207] c. Durational reduction (Carl Schachter’s analysis from “Rhythm and Linear Analysis: Aspects of Meter,” in Unfoldings, Ex. 3.8b, © 1998 Oxford University Press). Reproduced by permission. [208] 6.2 Bach, Fugue in C♯ Minor from The Well-Tempered Clavier, Book 1 (hypermetrical analysis from Heinrich Schenker, Free Composition, Fig. 149, 8a). Der freie Satz (vol. 3 of Neue musikalische Theorien und xi xii list of music examples 6.3 6.4 6.5 6.6 6.7 6.8 6.9 6.10 6.11 6.12 6.13 6.14 Phantasien) © 1935 Universal Edition A. G., Wien. Revised edition © 1956 Universal Edition A. G., Wien/UE 6869. Reproduced by permission. [210] Mozart, Serenade in C Minor for Wind Octet, K. 388, Menuetto in canone (iii), oboes and bassoons only [211] Mozart, String Quartet in G Major, K. 387, Molto allegro (iv), coda [212] Brahms, Sonata in E♭ Major for Piano and Clarinet, op. 120, no. 2, Allegro amabile (i) a. Score [216] b. Alternative barring of mm. 22–29, following the piano part [218] Mozart, String Quartet in G Major, K. 387, Allegro vivace assai (i) a. Score [222] b. Alternative barring of mm. 13–19 [224] Haydn, String Quartet in F Major, op. 77, no. 2, Allegro moderato (i) [229] Cycles of imitation in chamber music for strings a. Mozart, String Quartet in C Major (“Dissonance”), K. 465, Allegro (i), retransition [230] b. Beethoven, Quartet in C Minor, op. 18, no. 4, Allegro (iv), maggiore theme [231] c. Tchaikovsky, Sextet in D Minor (“Souvenir de Florence”), op. 70, Allegro con spirito (i) [232] Examples of slurs (from Türk, Klavierschule, p. 355) [234] Slurs as equivalents of rhythmic values (from Lerdahl and Jackendoff, A Generative Theory of Tonal Music, Exx. 4.27 and 4.28, © 1983 Massachussets Institute of Technology). Reproduced by permission. [234] Haydn, Piano Sonata in C Major, Hob. XVI:50, Allegro (i) a. Score [235] b. Voice-leading derivation of m. 3 [235] Ties across bar lines (from Leopold Mozart, Versuch einer gründlichen Violinschule [Augsburg, 1756], 259) [235] Mozart, Clarinet Quintet in A Major, K. 581, Trio I (iii) [237] Mozart, String Quartet in C Major (“Dissonance”), K. 465, Menuetto: Allegro (iii) a. Hypermetrical analysis by McClelland (“Extended Upbeats in the Classical Minuet,” Ex. 2, © 2006 Ryan McClelland). Reproduced by permission. [242] list of music examples 6.15 6.16 7.1 7.2 7.3 7.4 ‹ ‹ ‹ ‹ 7.5 b. Opening renotated in 42 [243] c. Alternative hypermetrical analysis (second reprise only) [246] Mozart, Sonata in G Major for Piano and Violin, K. 379, Allegro (ii), transition and subordinate theme [251] Mozart, Trio in E♭ Major for Piano, Clarinet, and Viola (“Kegelstatt”), K. 498, Trio (ii) a. Trio [256] b. Voice-leading derivation of mm. 43–45 [259] c. Two harmonic interpretations of m. 42 [260] d. Bass-line reduction of mm. 63–68 [263] e. Coda [265] Derivation of subordinate theme (i) a. Subordinate theme (clarinet, concert pitch) [277] b. Cadential idea from primary theme (piano, right hand) [277] c. Opening grupetto gesture (viola and piano, right hand) [277] Comparison of opening vs. recapitulation (i) a. Opening: a tentative exchange [279] b. Recapitulation: a group of friends [279] Recomposition of first reprise (ii) [282] Two problematic rounded-binary recapitulations (ii) a. Minuet [285] b. Trio [285] 5–6–7–8 motive a. Subordinate theme, recapitulation (i; viola) [286] b. Rondo theme (iii; clarinet, concert pitch) [286] xiii Preface According to an oft-recounted founding myth, Haydn’s first forays into quartet writing were motivated by a social occasion: The following purely chance circumstances had led him to try his luck at the composition of quartets. A Baron Fürnberg had a place in Weinzierl, several stages from Vienna [about 50 miles], and he invited from time to time his pastor, his manager, Haydn, and Albrechtsberger (a brother of the celebrated contrapuntist, who played the violoncello) in order to have a little music. Fürnberg requested Haydn to compose something that could be performed by these four amateurs. Haydn, then eighteen years old, took up this proposal, and so originated his first quartet [see Ex. 0.1], which immediately appeared, received such great approval that Haydn took courage to work further in this form.1 Ex. 0.1 Haydn, String Quartet in B♭ Major (“La chasse”), op. 1, no. 1, Presto (i) While this charming story is hardly a factual history of the string quartet’s birth,2 it does exemplify an intertwining of sociability and chamber music prevalent in late-eighteenth- and early-nineteenth-century thought. At the time, the typical setting for playing sonatas and ensemble chamber music was the drawing room, a space that also served as the venue for gatherings 1 2 Georg August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig, 1810), 15–16 (Web Doc. #7). English translation from Vernon Gotwals, trans., Haydn: Two Contemporary Portraits, by Georg August Griesinger and Albert Christoph Dies (Madison: University of Wisconsin Press, 1968), 13. On the capacity of string quartets to forge bonds of friendship, compare Griesinger’s remarks to an essay, also published in 1810, by Johann Conrad Wilhelm Petiscus (quoted in the epigraph to Chapter 1). See David P. Schroeder’s appraisal of Griesinger’s account in “The Art of Conversation: From Haydn to Beethoven’s Early String Quartets,” Studies in Music from University of Western Ontario 19–20 (2000–1): 377–8. See also James Webster and George Feder, The New Grove Haydn (New York: Macmillan, 2002), 8–9; Floyd K. Grave and Margaret Grave, The String Quartets of Joseph Haydn (Oxford University Press, 2006), 9–10; Mary Hunter, “The Quartets,” in The Cambridge Companion to Haydn, ed. Caryl Clark (Cambridge University Press, 2005), 112–13; and David Wyn Jones, “The Origins of the Quartet,” in The Cambridge Companion to the String Quartet, ed. Robin Stowell (Cambridge University Press, 2003), 177–78. xxi xxii preface with witty, artful conversation and conviviality among friends. Could it be that social elements, manifest in the conception and playing of chamber music, were also composed into musical scores? This book examines stylized social intercourse as it is encoded in Mozart’s chamber music and animated by the musicians who play it. I was initially drawn to this subject by a dissonance I perceived between my education as a music theorist and my experience performing chamber music as a violist. Inspired by ideas I encountered as a student during coachings with eminent interpreters of Mozart’s chamber music – including Robert Levin, Pamela Frank, and members of the Borromeo, Brentano, Emerson, Juilliard, Orion, and Takács Quartets – I was eager to capture in my analytical writing the moment-to-moment interchanges and “conversations” among instrumental parts that make this music so enjoyable to play. Yet I struggled to forge this connection between scholarly inquiry and performance experience using existing analytical methods. This book is the fruit of my effort to resolve that dissonance and to unite the two halves of my musical life. The argument proceeds in two phases, the first historical and the second analytical. The historical survey in Part I begins with accounts of Mozart’s own domestic music-making (Chapter 1) followed by a study of the eighteenth- and early-nineteenth-century sources that describe chamber music as a metaphorical conversation or social interaction among the instruments (Chapter 2). Whereas the comparison of the string quartet to conversation was most famously articulated by Johann Wolfgang von Goethe, his remark is but one in a long tradition that originates in the 1770s and continues to this day. Chapter 3 examines aspects of private music-making that engendered a temporal, of-themoment quality. Specifically, the evidently common practice of playing at sight and from individual parts (since scores were rarely available, even for chamber music with piano) suggests an experience of moment-to-moment musical discovery that shares affinities with improvisation and that departs from today’s public performances, which are carefully prepared in advance. Part II develops a concept I call multiple agency, which refers to the capacity for independent action on the part of musical characters enacted by the various instrumentalists. This perspective, a refinement to traditional metaphors of conversation, offers a new vantage point for analyzing form and phrase rhythm as the interplay among these performer-personas. Instead of framing an analysis in terms of “what happens” in a musical work, one might conceive of a violin character seeking a cadence while a cello character evades it, or of clarinet and piano characters who exchange a melodic motive but disagree about its proper hypermetrical context. Multiple agency becomes a vocabulary for and theoretical model of how chamber music players conceive preface of their musical actions and agency as they play. It furthermore underscores their authority as creative agents in their own performances, as opposed to more conventional discourses that ascribe agency to “the work” or “the composer.” While this analytical perspective is a thoroughly modern invention, it is nevertheless inspired by the historical ideas surveyed in Part I as well as by my own experience playing this music. The Epilogue examines more closely the relationship of the historical and analytical parts of the book. I also address what multiple agency may offer chamber musicians performing today and situate it relative to current scholarship on musical performance. Suffice it to say, I do not intend an oversimple, one-to-one correspondence between how “they” played in Mozart’s time and how “we” should analyze or perform today. Nor is “they” even a useful construct, since chamber music practices varied widely from Vienna to Paris to London, between amateurs and professionals, and in salon settings compared to more public spaces. In recent decades, the analysis of musical “works” has come under scrutiny by some musicologists on a variety of grounds: (1) that musical analysis so defined tends to privilege composers and scores over the people who played and listened to them; (2) that it tends to essentialize a post-1800 concept of musical workhood; and (3) that it tends toward anachronism by inventing concepts and terminology foreign to the music’s original context. As it is my aim within these pages to bring historical, analytical, and performance perspectives closer together, I am mindful of these critiques. In fact, the concept of multiple agency is inspired by them: Whereas some passages of chamber music may seem to express the agency of a single, unified persona (“the work” or “the composer”), the examples I have chosen for analysis are those in which distinct “characters” demonstrate their capacity to act independently, at times even in opposition to one another. This focus draws attention to the role musicians play in enacting the social interplay for which the score is but a script. Mozart may have chosen the notes, but the players compose the musical dialogue as they find meaning in their musical utterances, gestures, and interactions, in time, as they play. Listeners, when they are present, are then drawn into the social discourse through mimetic engagement. Although the medium of the scholarly monograph necessarily uses annotated scores to present analytical interpretations, the truest form of multiple-agency analysis, perhaps, is that conducted tacitly by musicians as they play together from their individual parts. The analytical videos provided among the Web Resources (about which more soon) are my best effort to simulate this experience, and I encourage readers to watch them while reading the analyses. xxiii xxiv preface This book does not offer anything like a comprehensive survey of Mozart’s chamber music output, nor does it endeavor to survey the diverse landscape of composers and performers active during this period; other existing volumes present excellent style criticism along these lines. Rather, my principal aim is to develop an original analytical method, explore its historical and conceptual underpinnings, and test it through a series of analyses ranging from short passages to whole movements to one complete composition (Mozart’s “Kegelstatt” trio, K. 498). Although this book focuses almost exclusively on Mozart, the multiple agency concept surely has something to offer other repertoires – beyond the late-eighteenth century, beyond instrumental chamber music, beyond Western music. I welcome future contributions from other scholars who may wish to pursue these ideas further and in new contexts. Advice to readers I have endeavored to compose this book for a diverse readership, which may include historical musicologists, music theorists, performers, and Mozart enthusiasts of all stripes. For readers principally interested in my analytical method, the theoretical exposition commences in Part II, which may be read as a standalone study. But as the historical voices examined in Part I provide a richer context for the analyses, I recommend reading it first and believe it will reward the time spent. For readers unfamiliar with recent theories of musical agency, sonata form, and meter: Although Part II involves some amount of technical language, jargon is kept to a minimum and terminology is explained along the way. Additional background and clarification are available through the supplemental Web Resources. Some readers may prefer to bypass Chapters 4–6 to begin with, proceeding directly to the discussion of Mozart’s “Kegelstatt” trio, K. 498, in Chapter 7, and only then circling back for some more rigorous analyses and a discussion of their theoretical foundations. Notes on the text On the use of third-person pronouns: I refer to musical participants as “he” or “she” somewhat in accordance with the gendered realities of the late-eighteenth century, when performance on string and wind instruments was reserved for men, while women enjoyed more equal treatment as preface ‹ ‹ ‹ keyboard players and, of course, as listeners. I will largely follow this convention both for real-world instrumentalists and their fictional personas, a distinction I introduce in Chapter 4. For any readers – especially Italian speakers – who are troubled by the masculine pronoun “he” in reference to the grammatically feminine “viola,” I beg forgiveness for this dissonance. All translations are my own unless otherwise indicated. Citations stating “English translation from . . .” indicate that the quoted text is from the cited translation, whereas citations stating “see English translation in . . .” or “see also English translation in . . .” merely cross-reference a published translation to supplement my own. For short passages, the original, foreign-language text is generally provided in a footnote. More extended original texts appear online (as explained below). Harmonies are indicated with uppercase Roman numerals only, regardless of chord quality. Scale degrees are designated as 1, 2, 3, etc. Pitches (and pitch classes) are generally designated simply as uppercase letter names. When more clarity about a precise register is required, I have adopted the following Helmholtz-like system: CC, C, c, c1, c2, c3, where middle C is c1. I have occasionally added the indication “great octave” to clarify in cases when a capital letter refers to the specific register as opposed to the pitch class. Captions for musical examples use lowercase Roman numerals to indicate the number of a given movement within a large-scale composition. The abbreviation PAC, for “perfect authentic cadence” (introduced in Chapter 4), refers approximately to what many European scholars (following Rameau) call a “perfect cadence” (from root-position V to root-position I), except that it furthermore requires the melody to close on the tonic note. If the melody instead closes on 3, it is deemed an “imperfect authentic cadence,” which is considered to be a weaker cadence. The distinction between these two types of authentic cadence accords with compositional theories contemporaneous to Mozart (see the references to Heinrich Christoph Koch in Chapter 5) and is an important consideration in the analysis of sonata form. A cadence that comes to rest on a root-position V harmony – sometimes called an “imperfect cadence” or “semicadence” – will be designated a “half cadence” (HC). For more information about the categories of cadence observed in this book, readers may consult the two publications by William E. Caplin listed in the bibliography. Though style manuals advise authors to avoid lengthy footnotes, I confess that I have not heeded this wise guideline within these pages. As a part-time historian, trained primarily in music analysis and performance, some of my greatest joys in writing this book have been encountering compelling historical anecdotes and connections that, although not strictly essential to my central xxv ‹ xxvi preface argument, provide colorful sidelights along the way. Since some of these documents will not be known to many readers and can be difficult to access, I have erred on the side of inclusion, quoting rather than paraphrasing historical documents and, where possible, citing them in both original and modern editions. But to avoid a meandering main text, I have relegated some sources to footnotes. Readers whose curiosity is piqued by historical details are invited to peruse the footnotes, but those who prefer a more streamlined reading can rest assured that the main text is self-sufficient and presents the complete argument. Edward Klorman New York, spring 2015 About the web resources www.mozartsmusicoffriends.com The web resources comprise a variety of supplemental materials designed to enhance the reading experience. Although the print volume is selfsufficient, the online materials are recommended. They are divided into the following sections: Chapter resources xxx next to a musical example or section Throughout the book, the symbol heading indicates that a corresponding recording and analytical video are available online. These videos present a recorded performance of a given excerpt timed to a scrolling score with animated annotations, thus allowing the analyses to be experienced more viscerally. Some readers may opt to watch the videos first for an overview and to return to the prose discussion after for a more detailed presentation. These recordings and videos are organized by chapter and are generally numbered to correspond to the printed examples to which they pertain. Thus, Video 4.2 corresponds to Ex. 4.2 in the book and is filed online under resources for Chapter 4. (In a few cases, videos are given descriptive names rather than numbers, since they either pertain to multiple examples or to music not included as an example in the book.) For two extended musical examples too lengthy to include in the text, PDF scores are provided online among the resources for the relevant chapter: J. J. de Momigny’s analysis/arrangement of Mozart’s String Quartet in D Minor, K. 421 (Chapter 2) and Mozart’s “Kegelstatt” trio, K. 498 (Chapter 7). The video “Endless Coda” by the musical comedy duo Igudesman & Joo – referenced in Chapter 4 – is included among that chapter’s resources. Also provided are brief primers entitled “Notes on Sonata Form” and “Notes on Metrical Theory,” which offer background information about theories that inform Chapters 5 and 6; some readers may find these helpful. about the web resources Web documents This section provides original, untranslated texts for extended quotations presented in English translation in the book. References in the form of “Web Doc. #x” refer readers to this online resource, in which sources are ordered alphabetically by author, or by title for anonymous sources. Excerpts from Mozart’s letters are excluded because their original texts are easily accessible in Bauer and Deutsch’s complete edition, which also appears online at http://dme.mozarteum.at. Illustrations This section provides color images for paintings that are reproduced in grayscale in the book. Likewise, for figures in the text representing details from larger images, the complete versions are provided online. For ease of cross-reference, these illustrations are assigned figure numbers identical to the corresponding material in the book. A variety of supplemental illustrations that do not appear in the text are also provided, which readers may enjoy perusing. Most of these pertain to eighteenth-century domestic music-making but a handful relate to the game skittles (Kegelspiel), the sport for which Mozart’s “Kegelstatt” trio was named (as explained in Chapter 7). To facilitate browsing, the illustrations are divided into categories, within which they are ordered alphabetically by artist’s surname or by title when the artist is unknown. Musician biographies For the musical recordings, in which I feature as violist, it was my very good fortune to perform together with such fine musicians, many of them faculty colleagues, former students, or former classmates from The Juilliard School: Charles Neidich, clarinetist; Laura Strickling, soprano; Matthew Patrick Morris, baritone; Liza Stepanova, pianist; Siwoo Kim and Emily Daggett Smith, violinists; and Alice Yoo, cellist. Their artistry and generosity enhance this book enormously, making the connection between musical scholarship and performance all the more tangible. Brief biographies of each musician are provided online. xxxi xxxii about the web resources I wish in particular to recognize Laura Strickling for her enthusiasm taking on the staggering role of Dido in J. J. de Momigny’s adaptation of Mozart’s String Quartet in D Minor, K. 421, in what is in all likelihood its first performance. What Momigny has achieved in musical notation and prose, Laura has acccomplished in sound, transforming Mozart’s idiomatic violin music into a coloratura aria. I also thank Ryan Streber of Oktaven Audio for producing the recordings so beautifully. part i Historical perspectives ! ! 1 ! The music of friends From the Tagus to the Neva, our quartets are played. Not only in larger cities everywhere [but] also in smaller ones [and] even in some villages, wherever there are friends of music [Musikfreunde] who play string instruments, they get together to play quartets. The magic of music makes everyone equal and binds together in friendship those whom rank and conditions would otherwise have kept eternally apart . . . Those who ever drank together became friends; [but] the quartet table [Quartetttisch] will soon replace the pub table [Schenktisch]. A person cannot hate anyone with whom he has ever made music in earnest. Those who throughout a winter have united on their own initiative to play quartets will remain good friends for life. –Johann Conrad Wilhelm Petiscus, “Ueber Quartettmusik” (1810)1 The environment in which a musical genre developed is often deeply intertwined with that genre’s history and style. A study of Bach’s cantatas, for instance, is greatly enhanced by awareness of their original liturgical context in Lutheran practice, just as a full account of the history of Italian opera surely considers the ethos of the opera house, along with the singers, impresarios, and audiences who inhabited it. Scholarship on the “place” for which a work was conceived can examine not only a cultural setting and social context but also the physical performance space. For example, the layout of St. Mark’s Basilica was vital in the development of the antiphonal style of the Venetian school, just as the design of Wagner’s theater at Bayreuth was essential for the realization of his concept of music drama as Gesamtkunstwerk. 1 [Johann Conrad Wilhelm] P[etiscus], “Ueber Quartettmusik,” Allgemeine musikalische Zeitung (Leipzig) 12, no. 33 (May 16, 1810): col. 514 (Web Doc. #23). Although the article is simply signed “P.,” the writer is identified as Petiscus, a Lutheran theologian, in Nancy November, “Haydn’s Vocality and the Ideal of ‘True’ Quartets” (Ph.D. diss., Cornell University, 2003), 129. Two insightful discussions of Petiscus’s essay appear in Mary Hunter, “‘The Most Interesting Genre of Music’: Performance, Sociability and Meaning in the Classical String Quartet, 1800–1830,” Nineteenth-Century Music Review 9 (2012): 55–59 and passim; and Nancy November, Beethoven’s Theatrical Quartets: Opp. 59, 74, and 95 (Cambridge University Press, 2014), 11–13 and passim. 3 4 historical perspectives In the case of late-eighteenth-century chamber music – a designation that overtly references the music’s venue – the culture of the drawing room is an integral part of the music’s spirit.2 Christina Bashford, in her brief account of the string quartet’s social history, defines late-eighteenthcentury chamber music as “music to be performed for its own sake and the enjoyment of its players, in private residences (usually in rooms of limited size), perhaps in the presence of a few listeners, perhaps not.”3 In referring to musicians with the neutral word “players,” Bashford nicely avoids the more customary term “performers”; the latter locution tends to unduly (and anachronistically) suggest a more formal, public spectacle undertaken mainly for the enjoyment of an audience of strangers. Bashford’s historically sensitive definition positions chamber music as a type of Gebrauchsmusik, serving a function by providing friends and family a way to engage together socially through music, either as players, listeners, or both. Richard Henry Walthew, the British pianist and prolific composer of chamber music, beautifully captured the tradition of Hausmusik in a lecture that dubbed chamber music “the music of friends.”4 The painting Haydn Quartet by Julius Schmid (Fig. 1.1) is an earlytwentieth-century image depicting an (imagined) late-eighteenth-century domestic musical scene.5 With music strewn about the floor and a violin 2 3 4 5 I will generally use the term “chamber music” in the modern sense, to indicate duets (including sonatas for keyboard and violin), trios, quartets, etc. In the eighteenth century, such works were all designated as types of “sonata” (see discussion of sonatas in Chapter 2). In Mozart’s lifetime, the term Kammermusik retained an older meaning, referring broadly to any instrumental music for the aristocratic chamber, as opposed to church or theater; this included concerti just as well as sonatas. See Johann Philipp Kirnberger’s entry “Cammermusik” in Johann Georg Sulzer, ed., Allgemeine Theorie der schönen Künste, vol. 1 (Leipzig, 1771), 440–41 (Web Doc. #33); and Heinrich Christoph Koch, Musikalisches Lexikon (Frankfurt am Main, 1802), s.v. “Kammermusik,” cols. 820–21 (Web Doc. #10). Cliff Eisen discusses the changing meaning of Kammermusik in “Mozart’s Chamber Music,” in The Cambridge Companion to Mozart, ed. Simon P. Keefe (Cambridge University Press, 2003), 105–17. On the multiple authorship of Sulzer’s Allgemeine Theorie der schönen Künste, see Aesthetics and the Art of Musical Composition: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch, ed. Nancy Baker and Thomas Christensen (Cambridge University Press, 1996), 14 n. 22. Christina Bashford, “The String Quartet and Society,” in The Cambridge Companion to the String Quartet, 3. As a precedent to the string quartet, Bashford cites the madrigal as an important genre for domestic musical recreation. Richard Henry Walthew, The Development of Chamber Music (London: Boosey and Hawkes, 1909), 42. This publication is based on three lectures that Walthew delivered at the South Place Institute in London in 1909. The phrase “music of friends” is probably his original coinage, but the idea is an old one (cf. the Petiscus passage quoted in the epigraph to this chapter). Authentic, eighteenth-century paintings depicting string quartet playing are rare (but see a c. 1785 silhouette of Wallerstein court musicians included among the Web Resources). As a much later depiction of an eighteenth-century musical gathering, Fig. 1.1 is but an evocative The music of friends Fig. 1.1 Heliogravure by Franz Hanfstaengl, 1907, after Julius Schmid, Haydn Quartet, c. 1905–6 (painting now lost). Vienna City Museum. case leaning precariously against a bench, it seems these players hope to sight-read a good deal of music at this gathering (cf. Fig. 1.3 below and the unknown painting on the cover of this book).6 No scores are in sight; string 6 product of its creator’s fantasy and should in no way be taken as direct evidence of Haydn’s period. Yet other documentary and iconographic evidence I will examine below suggests that the scene it depicts cuts to the heart of Hausmusik practices that Haydn and Mozart would have recognized, namely, the notion that this music was often (if not usually) played primarily for the enjoyment of the players themselves. A variety of authentic, eighteenth-century images depicting domestic music-making are provided among the Web Resources, as are color versions of several illustrations in this chapter. An insightful analysis of nineteenth-century depictions of string quartet playing and their relation to French and German conceptions of the genre is Nancy November, “Theater Piece and Cabinetstück: Nineteenth-Century Visual Ideologies of the String Quartet,” Music in Art 29, nos. 1–2 (Spring–Fall 2004): 134–50. Regarding the dating of the unknown painting reproduced on the cover, which is preserved in a nineteenth-century lithograph: Although Ludwig Finscher considers it to be an eighteenthcentury work, November is more likely correct that it dates from the nineteenth century. The central position of the bust of Mozart, the watchful eye of the master composer dominating over the music-making, reflects nineteenth-century values (cf. Josef Danhauser’s Liszt at the Piano [1840]). Moreover, the depiction of musicians in the eighteenth-century playing underneath a bust of Mozart is likely an anachronism, since it is doubtful anyone would have owned such a bust until some years after the composer’s death in 1791. See Ludwig Finscher, “Streichquartett,” 5 6 historical perspectives quartets were available only in parts at the time. Haydn, leaning in toward his colleagues and with raised bow, seems poised to speak. Perhaps the players stumbled during a tricky passage, requiring him to offer instructions or even to conduct. Several other people are in attendance: a lady (one of the players’ wives?) stands on the right, with a boy and his governess; a gentleman watches from behind the ensemble, perhaps to follow one of the players’ parts (if he too is a dilettante musician); and in the rear, a late arrival is shown in by a domestic servant, pausing in the doorway until he can enter without disturbing the music. This is not a conventional “concert” or “performance,” at least not as those words are generally used today. Rather, quartet playing is depicted as an activity undertaken by the players largely for their own enjoyment within their enclosed circle. The others, for whom no seating is provided, listen in as spectators rather than as a concert audience. This sense of chamber music playing being directed inward, emphasizing intercourse among the players, is borne out in several earlier images and artifacts datable to Mozart’s lifetime or shortly thereafter. The late-eighteenthcentury quartet table (Quartetttisch) in Fig. 1.2 is designed such that musicians could play to one another within their circle. The images in Figs. 1.3 and 1.4 show chamber music with keyboard instruments, with small music stands placed on their lids to support the string players’ music. This arrangement, commonly seen in such depictions, would seem to foster an intimately circumscribed locus of musical activity.7 The watercolor Interior with a Musical Gathering (Fig. 1.5) depicts a private concert in a salon, possibly a performance of a concerto or chamber piece featuring the lady at the keyboard, accompanied by the male string and wind players seated around the adjacent table, led by the first violinist conducting.8 Although 7 8 in Die Musik in Geschichte und Gegenwart, ed. Ludwig Finscher, vol. 8 (Kassel: Bärenreiter, 1998), col. 1936; and November, “Haydn’s Vocality,” 15. The complete Artaria title page from which Fig. 1.3 is extracted is provided among the Web Resources. For an account of Susan Burney sight-reading this piece, see below, 94. On the likely attribution of Fig. 1.4 to Gabriel Jacques de Saint-Aubin (rather than his brother Augustin, to whom it was formerly attributed), see Phyllis Hattis, Four Centuries of French Drawings in the Fine Arts Museums of San Francisco (San Francisco: Fine Arts Museums of San Francisco, 1977), 156, catalog item #119. My suggestion that the keyboard player seems to play a concerto or other keyboard-centric chamber piece is based on the premise that an avocational lady pianist is unlikely to be realizing a continuo part in a symphony or concerto grosso, especially considering the distance between her and the cellist. However, the focus of the composition on the musicians around the table, rather than on the keyboard player, may speak against this interpretation. The drawing is undated, but Aartman’s working dates are often given as 1723–60. Robert-Jan te Rijdt, curator of eighteenth- and nineteenth-century drawings at the Rijksmuseum, speculates that the artist may The music of friends Fig. 1.2 String quartet table (Quartetttisch), late eighteenth century. Kunsthistorisches Museum, Vienna. the keyboard player would be featured in such an ensemble, neither she nor any other individual figure is the center of visual interest. Rather, the composition makes a focal point of the musicians as a group and draws attention to the drawing room as a site for both social music-making and musical socializing. Instead of directing their playing outward, the musicians seem to draw the surrounding company into their circle. The listeners appear to be engaged with the music but are not strictly silent; note the have been active later, since a drawing exists dated 1779 that may be by Aartman (personal communication). The drawing in question is signed “A: 1779” (similarly to Interior with a Musical Gathering) but was sold with attribution to Aert Schouman (Sotheby’s, Amsterdam, November 21, 1989, lot 183). 7 8 historical perspectives Fig. 1.3 Detail from title page of Haydn, Piano Trio, Hob. XV:10. Vienna: Artaria, 1798. Fig. 1.4 Gabriel Jacques de Saint-Aubin, The Musical Duo, c. 1772. Watercolor, gouache, brown and black ink, and graphite. The Fine Arts Museums of San Francisco. chatting figures in the rear right and foreground left. Such depictions and artifacts of domestic music-making in Figs. 1.2–1.5 contrast sharply with the formal performances heard in today’s public concert halls.9 9 Finscher (“Streichquartett,” 8: col. 1936) emphasizes the contrast between the circular quartet formation, characteristic of private settings and mirroring salon conversation, with the semi-circular formations associated with public performance, which he states emerged only around the 1870s. At John Ella’s Musical Union concerts (established in London in 1845), The music of friends Fig. 1.5 Nicolaes Aartman, Interior with a Musical Gathering, c. 1723–60. Graphite and watercolor. Rijksmuseum, Amsterdam. Mozart as chamber musician It is a challenge to piece together a detailed historical record of lateeighteenth-century Hausmusik practices.10 Bashford notes that “the essentially private nature of quartet-playing renders documentation scanty, suggesting a less extensive activity than was almost certainly the case; but occasional accounts in diaries, letters and the like enable some glimpses to be caught.”11 Although such terse “glimpses” cannot illustrate the extent of 10 11 performers were positioned in the center of the hall, with the audience seated in the round, in order to simulate the private quartet concerts Ella had attended in Vienna at the palace of Prince Czartoryski. John Ella, Musical Sketches: Abroad and at Home, 3rd ed., rev. and ed. John Belcher (London, 1878), 349. See also a related picture of a string quartet performance at Ella’s Musical Union, reproduced in Tully Potter, “From Chamber to Concert Hall,” in The Cambridge Companion to the String Quartet, 43. I will return to adaptations of chamber music for semi-public and public performance in Chapter 3. A historical sketch of string quartet performance during this period in Vienna appears in Horst Walter, “Zum Wiener Streichquartett der Jahre 1780 bis 1800,” Haydn-Studien 7, nos. 3–4 (February 1998): 289–314. See also Mary Sue Morrow, Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (Stuyvesant, NY: Pendragon Press, 1989), esp. 1–33 on private concerts and musical activities. Bashford, “The String Quartet and Society,” 4. To Bashford’s list of text-based sources, I would add iconographic evidence as well. See, for example, Richard Leppert, Music and Image: Domesticity, Ideology, and Socio-Cultural Formation in Eighteenth-Century England (Cambridge University Press, 1988), which focuses on domestic music in general, not the string 9 10 historical perspectives domestic musical activity during this period, they nevertheless provide an enticing picture of its character. Two of the most vivid accounts of Mozart’s domestic music-making come from the memoirs of Michael Kelly, the Irish tenor who sang in the first production of Le nozze di Figaro: I went one evening to a concert of the celebrated [Leopold] Kozeluch’s, a great composer for the piano-forte, as well as a fine performer on that instrument. I saw there the composers Vanhall [sic] and Baron Dittersdorf; and, what was to me one of the greatest gratifications of my musical life was there introduced to that prodigy of genius – Mozart. He favoured the company by performing fantasias and capriccios on the piano-forte. His feeling, the rapidity of his fingers, the great execution and strength of his left hand particularly, and the apparent inspiration of his modulations astounded me. After his splendid performance we sat down to supper and I had the pleasure to be placed at the table between him and his wife, Madame Constance Weber, a German lady, of whom he was passionately fond, and by whom he had three children. He conversed with me a good deal about Thomas Linley, the first Mrs. [Elizabeth Ann] Sheridan’s brother, with whom he was intimate at Florence, and spoke of him with great affection. He said that Linley was a true genius; and he felt that, had he lived, he would have been one of the greatest ornaments of the musical world. After supper the young branches of our host had a dance, and Mozart joined them. Madame Mozart told me, that great as his genius was, he was an enthusiast in dancing, and often said that his taste lay in that art, rather than in music. He was a remarkably small man, very thin and pale, with a profusion of fine fair hair, of which he was rather vain. He gave me a cordial invitation to his house, of which I availed myself, and passed a great part of my time there. He always received me with kindness and hospitality. – He was remarkably fond of punch, of which beverage I have seen him take copious draughts. He was also fond of billiards, and had an excellent billiard table in his house. Many and many a game have I played with him, but always came off second best. He gave Sunday concerts, at which I never was missing. He was kind-hearted, and always ready to oblige; but so very particular, when he played, that if the slightest noise were made, he instantly left off.12 12 quartet in particular. Leppert’s remarks (pp. 3–8 and passim) about iconography as evidence of an ideology, and not necessarily of actual practices, are especially illuminating. Michael Kelly, Reminiscences of Michael Kelly, of the King’s Theatre, and Theatre Royal Drury Lane (London, 1826), 1:225–26. These memoirs were prepared for publication by Theodore Edward Hook based on materials furnished by Kelly. Kelly’s (or Hook’s) penchants for namedropping and for dramatic rhetorical effects make for highly engaging prose, but readers should beware of some probable exaggerations within his memoir. Index Aartman, Nicolaes, Interior with a Musical Gathering, 6–9 Abrams, M. H., 297 accompagnemens, 60–62, 69, 141. See also Momigny, Jérôme-Joseph de actor. See theater (as metaphor for musical performance) agency. See Cone, Edward T.; Monahan, Seth; multiple agency Akademie, 87 n. 45. See also chamber music; string quartet Albrechtsberger, Johann Georg, 12–13 Almén, Byron, 123 n. 22, 296 n. 18 analysis historicism and presentism in, 292–95 inside vs. outside perspectives for, 135–36, 290 in-time vs. end-state perspectives for, 133 n. 53, 156, 202–4, 220, 243 and musical workhood, xvii–xviii, xxii–xxiii, 133, 156–57, 290 audience. See listeners 318 Bach, Carl Philipp Emanuel, works H. 537–39, Quartets for Keyboard, Flute, and Viola, 152 n. 73 H. 579, Trio Sonata in C Minor (“Melancholicus and Sangiuneus”), 26–28 Bach, Johann Christian, 27 n. 20 Bach, Johann Sebastian, works B.W.V. 849, Fugue in C♯ Minor from The Well-Tempered Clavier, Book 1, 209–10 Bacon, Francis, 24 Baillot, Pierre, 48–52, 58, 59 n. 80, 76 Bakulina, Olga (Ellen), 72 n. 103, 296 n. 20 Bashford, Christina, 4, 9, 77 Beethoven, Ludwig van concert performances of his quartets, 50 n. 64, 51, 75–77 critical reception of his chamber music, 76 n. 10, 77 n. 15, 85 n. 40 description of Mozart’s keyboard playing, 236 n. 63 distribution of roles among parts, 50 n. 64, 152 n. 74 premiere of Piano Concerto No. 3, 104 n. 92 rehearsals of his chamber music, 73, 77 n. 15, 79, 85 n. 40 and the Schuppanzigh Quartet, 73, 75, 76 n. 13, 78–79 transformation of the string quartet, 78–80, 76 n. 12 Beethoven, Ludwig van, works op. 2, no. 1, Piano Sonata in F Minor, 250 n. 86 op. 14, Piano Sonatas, 152 n. 74 op. 18, no. 4, String Quartet in C Minor, 231 op. 47, Sonata for Piano and Violin in A Minor (“Kreutzer”), 85 n. 40 op. 95, String Quartet in F Minor (“Serioso”), 79 WoO 10, no. 2, Minuet in G Major for Piano, 245 n. 79 Beghin, Tom, 106 n. 95, 292 n. 10 Berger, Karol, 167 n. 28 Berlioz, Hector, 46 n. 54, 50 n. 64 Boccherini, Luigi, 22, 51, 76, 81–84 Brahms, Johannes, 35 n. 38, 272 n. 16 Brahms, Johannes, works op. 120, no. 2, Sonata in E♭ Major for Piano and Clarinet, 215–20 Burke, Peter, 23 n. 8, 40 n. 48, 107 n. 99, 114–15, 122 n. 20, 126 Burney, Charles, 27 n. 20, 271 n. 14 Burney, Susan, 94–95 Busoni, Feruccio, 104 cadence abandoned, 187 deceptive, 138–41, 144–48, 172–73, 283 expanded cadential progression, 144 n. 69, 152, 164, 173, 175 index half (HC) and perfect authentic (PAC), xxv one-more-time technique, 141 n. 66, 164 See also sonata form Cambini, Giuseppe Maria, 15–16, 80–85 canon and hypermeter, 209 per arsin et thesin, 210–19, 261 and recapitulations, 189–91, 239, 283–84 suspension chain, 66, 231 See also fugue; texture: contrapuntal Caplin, William E., xviii–xix, 118 n. 16, 156, 167–68, 180. See also cadence; formal function; sonata form Carpani, Giuseppe, 41–46, 52, 59 n. 80, 117 n. 14, 227 n. 51 Carter, Elliott, 30 n. 27 Casa, Giovanni della, 41 n. 48 chamber music historical definition of, 4 n. 2 private musical gatherings, 10–14, 87, 91–95 public (and semi-public) concert series, 50 n. 64, 51, 74–77 vs. Hausmusik, 78 n. 19 See also sonata; string quartet Cicero, Marcus Tullius, 23 n. 8. See also rhetoric concert. See chamber music concertirend definitions of, 28 n. 23, 30 n. 28, 36–37, 48 n. 57 quatuor concertant, 47–48, 53, 84 n. 38 sinfonia concertante, 37–40 See also concerto style; Wettstreit concerto style, 79, 144 n. 67, 148–50, 286 Cone, Edward T. agential autonomy of melody and accompaniment, 61 n. 90, 138 “complete musical persona” as “the composer’s voice,” 85 n. 41, 136 n. 59, 290 n. 4 critiques of, 127 n. 33, 129 n. 38, 136 n. 59, 289 n. 3 musical form, xviii phenomenology, 155 n. 78 self-determination of musical personas, 128–30 contrapuntal texture. See under texture conversation —historical sources on Bacon, Francis, 24 Casa, Giovanni della, 41 n. 48 Cicero, Marcus Tullius, 23 n. 8 Knigge, Adolf, 33 n. 32 Morellet, Abbé André, 25 n. 14, 48 Piozzi, Hester Lynch, 24 de Staël, Anne-Louise-Germaine, 24–25 Trotti de la Chetardye, Joachim, 23 n. 8 —other appropriate topics for, 23–24 distinction from classical rhetoric, 21–26, 42 n. 50, 116, 79 n. 21, 126–27 during musical performances, xv, 7, 11–12, 32, 98–100, 116 as game or sport, 24–25 gendered roles in, 22 n. 7, 42, 48, 115 and Haydn’s quartets, 25–26, 30–31, 33 n. 33, 41–45, 114–18 hierarchy vs. equality in, 126 as historical metaphor for music, xv–xvi, 26–32, 41–52 limitations as metaphor for music, 113–18, 122–27 and the long eighteenth century, xv, 25–26 register in, 114–15 spontaneity in, 23–24, 107 n. 99 —See also Burke, Peter Cox, Arnie, xix, 116 n. 11, 129 n. 37 cycle of imitation, 230–33, 244–45, 249, 264 Czerny, Carl, 90 n. 57, 236 n. 63 Dahlhaus, Carl, 167 n. 28 Darcy, Warren. See Hepokoski, James and Warren Darcy dialogue. See concertirend; conversation; Reicha, Anton dilettantes, 47–48, 75 n. 8, 77–78, 77 n. 14, 96–100 Dittersdorf, Carl Ditters von as participant at private musical gatherings, 10, 13 criticism of Mozart, 77 n. 14 Duclos, Antoine Jean, The Concert, 98–99 duet involving parallel thirds or sixths, 164, 253, 275, 288 in Mozart’s operas, 122 n. 19 for two keyboard players, 28 n. 21, 78 n. 19, 90, 108, 270–72 Dupreille, Charles-Albert, 91–93 Ella, John, 8 n. 9 essential expositional closure (EEC). See under sonata form: exposition 319 320 index Fétis, François-Joseph, 51 Finscher, Ludwig on chamber music vs. Hausmusik, 78 n. 19 on Haydn’s and Mozart’s quartets, 18 n. 31, 36 n. 43 on the string quartet after c. 1800, 8 n. 9, 74 n. 5 on the string quartet and “conversation,” 21 n. 3 form. See cadence; formal function; sonata form formal function “dueling” sentences, 250–53 framing functions, 103 n. 89, 281–82, 284 n. 41 liquidation, 178 presentation, 164 n. 17 problematic sentences, 168–72, 184–85 “stop” vs. “end,” 171, 176 theme as beginning–middle–end, 167–68 See also Caplin, William E.; sonata form Foucault, Michel, 131 n. 45 Framery, Nicholas Etienne, 48 n. 57 Frye, Northrop, 296 n. 18 fugue and conversation, 34 n. 33, 118 n. 15 and hypermeter, 209–10 Mozart’s improvisation of, 12–13, 89 and rhetoric, 27 and string quartets, 32–34, 65–66, 118–21 and symphonies, 36 n. 42 for three concertante instruments and bass, 28 n. 23 See also canon; texture: contrapuntal Gagné, David, 111 n. 1 Galant style —criticism of, 21–23, 28 n. 20 —schemata le–sol–fi–sol, 259 n. 97 Monte, 104 Quiescenza, 254, 254 n. 92 Romanesca, 287 games billiards, 10, 268 n. 4, 268 n. 5, 270 n. 10 card games, 15–16 conversation as game or sport, 24–25, 40 n. 48 musical games, 15 skittles (Kegelspiel), 267–68, 270 n. 10 See also sonata form: sonata game gender of musical personas, xxiv–xxv, 42 n. 50, 134 n. 57 roles in conversation, 22 n. 7, 42, 48, 115 Georgiades, Thrasybulos G., 204 n. 16, 223 n. 46 Gingerich, John M., 76 n. 11, 76 n. 13, 79 n. 24 Goethe, Johann Wolfgang von, xxii, 20, 294 Gopnik, Adam, 105 n. 93 Greimas, A. J., 157 n. 7 Grétry, André, 53–56, 88 n. 48 Griesinger, Georg August, xxi grouping. See under meter and grouping grouping dissonance. See under metrical dissonance Habermas, Jürgen, 76 n. 10, 125–26, 126 n. 29 Hanfstaengl, Franz, 4–6 Hatten, Robert, xix–xx, 152 n. 74, 233 n. 60, 293 n. 12 Hausmusik. See under chamber music Haydn, Franz Joseph complete edition of his quartets, 79 n. 22 criticism of, 21–23, 36 n. 42 as dedicatee of Mozart’s quartets, 18 disinclination to compose quintets, 31 n. 29 and fugue, 33 n. 33, 36 n. 42 as “inventor” of the string quartet, xxi, 36 n. 43 performances of his chamber music, 51, 74 n. 6, 81, 94, 100 as player of chamber music with Mozart, 13–14, 18–19 praise of, 33, 33 n. 33, 77 n. 14 Haydn, Franz Joseph, works Hob. I:95, Symphony no. 95 in C Minor, 36 n. 42 Hob. I:105, Sinfonia concertante in B♭ Major, 37–38 Hob. XVI:50, Piano Sonata in C Major, 234–35 Hob. XVIIa:1, Divertimento in F Major for Four-Hands Piano (“Il maestro e lo scolare”), 28 n. 21, 271 n. 14 op. 77, no. 1, String Quartet in G Major, 42–45 op. 77, no. 2, String Quartet in F Major, 229–30 Haydn, Michael, 91 Hepokoski, James and Warren Darcy, xviii–xix, 156–59, 168, 179–80. See also sonata form Hindemith, Paul, 289 n. 2 Hoffmeister, Franz Anton, 33, 36 n. 43, 75 n. 9, 97 n. 74 Hörmannsperger, Johann Franz, 267 n. 2 Hunter, Mary, 61 n. 89, 116 hypermeter. See under meter and grouping index Ives, Charles, 30 n. 27 Jacquin, Franziska von, 96 n. 70, 269–71, 273 n. 19 Jacquin, Gottfried von, 96, 269–70, 272–73 Johnson, Samuel, 24 Jones, William, 21–23 Journal des Luxus und der Moden (Weimar), 97–100 Keefe, Simon P., 29 n. 25 Kelly, Michael, 10–15, 18 Kerman, Joseph, xix, 76 n. 12, 78 Kirnberger, Johann Philipp, 148–49, 243 n. 75. See also Sulzer, Johann Georg, Allgemeine Theorie der schönen Künste Klein, Michael, 293–94, 296 Knigge, Adolf, 33 n. 32 Koch, Heinrich Christoph on chamber music, 4 n. 2 on concept of Hauptstimme, 29–30, 34–35, 35 n. 38, 59 n. 80 on concerti, 29 n. 25 on form, 158–59, 167–68, 179 n. 48 on meter and phrase rhythm, 239 n. 66, 243 n. 75 on sonatas, 29–30 on string quartets, 32–37 on Wettstreit, 37–41, 152–55, 157–58, 215 Kollmann, Augustus Frederic Christopher, 29 n. 24, 33 n. 33, 60 n. 84, 60 n. 84 Krebs, Harald, 205 n. 19, 239 n. 65. See also metrical dissonance Le Guin, Elisabeth, xix, 11 n. 15, 14–15, 53 n. 71, 292 n. 10 Leppert, Richard, 9 n. 11, 77 n. 17, 94 n. 65 Lerdahl, Fred and Ray Jackendoff. in-time vs. end-state analysis, 202 metrical conflicts, 214 n. 32, 253 n. 89 metrical preference rules (MPRs), 198–99 tactus, 218 n. 40 See also meter and grouping Lester, Joel, 134 n. 55, 291 Levy, Janet M., 37 n. 44, 47 n. 56, 72 n. 103, 206 n. 21 Lewin, David, 122 n. 19, 136 n. 60, 155 n. 78 Lichnowsky, Prince Karl, 75, 78, 101, 102 n. 85 listeners conversing during musical performances, xv, 7, 11–12, 32, 98–100, 116 historical conceptions of audiencehood, 73, 11 n. 15, 78 as overhearers rather than “audience,” 92 visual depictions of, 4–9, 92 n. 63, 93 See also mimetic engagement Lowinsky, Edward, 198, 208 n. 23 Mansfeld, Johann Ernst, Private Concert during Court Mourning, 93 Marx, Adolph Bernhard, xviii, 79 n. 21 McClelland, Ryan, 206 n. 21, 241–45, 248 n. 82 McCreless, Patrick, 168 n. 32, 292 n. 10 McKee, Eric, 144 n. 68, 241 n. 71 McVeigh, Simon, 74 n. 6 medial caesura (MC). See under sonata form: exposition meter and grouping —principles of grouping and phrase rhythm end-accented phrases, 240 n. 69, 245 n. 78, 255, 277 n. 32 gestural upbeat, 206 n. 21, 236–39, 241, 244, 255–66 independent grouping structures, 204 n. 16, 223 n. 46 rule of congruence, 240–41, 243, 245, 252, 255, 258 —principles of meter and hypermeter arrival vs. departure meter, 241 conservative vs. radical hearings, 200 n. 6, 221–22, 226, 243, 248, 255 entrainment, 214 n. 33, 221, 236, 256 even-strong vs. odd-strong hypermeter, 207 n. 22 hypermetrical transition, 205, 221, 254 metrical preference rules, 198–99, 227–28 parallel multiple-analysis, 202–3, 203 n. 13, 220–21, 226 projection, 203–4, 255 reinterpretation, 209–10, 225, 228–29, 241–43, 249–50 tactus, 213 n. 28, 218 n. 40 metrical dissonance displacement dissonance, 205 n. 19, 210, 219–20, 263 n. 104, 280–81 grouping dissonance, 191, 215 imbroglio, 239 n. 65, 261, 262 n. 101, 281 n. 36, 283 performance of, 220–21, 234–36 Meyerheim, Friedrich Eduard, The Skittles Society, 267 n. 2 mimetic engagement, xxiii, 116 n. 11, 129 n. 37, 289 n. 2 minor mode, expressive associations of, 59, 160 n. 15, 164, 185 n. 53 321 322 index Mirka, Danuta on canons per arsin et thesin, 209 n. 25 on double measures, 213 n. 28 on Metrum, 239 n. 66 on non-metrical counting of phrase lengths, 243 n. 75 theory of metrical processing, 202–5, 221, 243 n. 74 on topic theory, xx module of patterned activity, 228–33, 244, 253, 255, 262, 264–65 Momigny, Jérôme-Joseph de, 52–70, 133 n. 51, 141, 296 Monahan, Seth, 130–35, 209 n. 24, 294 n. 13 Monelle, Raymond, xx, 129 n. 38, 289 n. 3 Morellet, Abbé André, 25 n. 14, 48 Mozart, Constanze, 10, 96 n. 70, 96, 268 n. 4, 272–73 Mozart, Leopold, 15 n. 22, 18 n. 31, 101 n. 80, 235–37 Mozart, Wolfgang Amadeus and improvisation, 12–13, 88–89, 102 n. 86, 104, 107–8 as keyboard player, 10–12, 88–91, 101–4, 108 nonsense nicknames for friends, 96 n. 70, 270 n. 9, 270 n. 12 students of, 269–70 trio dedicated to Michael von Puchberg, 17, 101 as violin/viola player, 13–14, 18–19, 19 n. 34, 91 Mozart, Wolfgang Amadeus, works K. Anh. 294d/516f, Musical Game in C Major, 15 n. 23 K. 304, Sonata in E Minor for Piano and Violin, 158–66 K. 310, Piano Sonata in A Minor, 152–55 K. 364, Sinfonia concertante in E♭ Major, 40 K. 379, Sonata in G Major for Piano and Violin, 103–4, 159 n. 12, 250–55 K. 387, String Quartet in G Major, 36, 118–22, 211–15, 222–27, 231 K. 388, Serenade in C Minor for Wind Octet, 210–11 K. 421, String Quartet in D Minor, 52–70 K. 424, Duo in B♭ Major for Violin and Viola, 136–38 K. 441, Terzetto (“Das Bandel”), 96 K. 464, String Quartet in A Major, 122 n. 18, 239 n. 65 K. 465, String Quartet in C Major (“Dissonance”), 134 n. 57, 230, 241–50 K. 478, Piano Quartet in G Minor, 97 n. 74 K. 487, Horn Duos, 267–68 K. 492, Le nozze di Figaro, 290 n. 5 K. 493, Piano Quartet in E♭ Major, 144–51, 168–97 K. 498, Trio in E♭ Major for Piano, Clarinet, and Viola (“Kegelstatt”), 255–88 K. 521, Sonata in C Major for Four-Hands Piano, 270–71 K. 527, Don Giovanni, 128 n. 34, 204 n. 16 K. 581, Clarinet Quintet in A Major, 17, 141–44, 236–39 K. 590, String Quartet in F Major, 206–9 multiple agency agency of inner voices, 45 agential autonomy of melody and accompaniment, 138–44 vs. conversation, 122–27 and expositional closure, 152–55, 158–66 historical antecedents of, xv–xvi, 29–30, 34 n. 36, 60–61 and Monahan’s agency classes, 135 vs. musical narrative, 295–97 theory of, 135–55 musical topics fantasia, 107 n. 98 hymn, 176–77 lament, 160 n. 15 and multiple agency, 118–22, 131–32 principle of contrast, 27–28 Ratner’s theory of, xx, 296 n. 21 simultaneous topics, 122 n. 18 stile antico, 66 n. 94, 160–64 narrative contrasted with multiple agency, 295–97 sonata form as, 156, 168 n. 31 See also agency; theater (as metaphor for musical performance) Nissen, Constanze. See Mozart, Constanze Nissen, Georg Nikolaus von, 96, 97 n. 74, 102 n. 86, 268 n. 4 Novello, Vincent and Mary interview with Abbé Maximilian Stadler, 12–13, 18–19 interview with Constanze Mozart, 268 n. 4 interview with Joseph Henickstein, 19 n. 34, 270 n. 10 November, Nancy, 3 n. 1, 76 n. 13, 79 n. 25 performance and analysis gesture and performers’ bodies, xix, 115, 116 n. 9, 129 n. 37, 229–30 performers as analysts, xix, 209, 290–92 See also analysis index Petiscus, Johann Conrad Wilhelm, 3, 32 n. 30, 74 n. 4, 85–86 phrase rhythm. See under meter and grouping Pichler, Caroline, 107–8, 268–69 pitch-class motive, 168, 196 Pleyel, Ignaz, 33, 36 n. 43, 75 n. 9, 79 n. 22, 94 prima vista. See sight-reading Puchberg, Michael. See under Mozart, Wolfgang Amadeus Quantz, Johann Joachim, 15 n. 22, 28 n. 23, 35 n. 41 quartet (instrumental or vocal genre), 28 n. 23, 33 n. 31, 59 n. 83. See also string quartet Quintilian. See rhetoric Ratner, Leonard, xx, 72 n. 103, 167, 293 n. 12, 296 n. 21 Razumovsky, Count Andrey, 75, 78. See also Beethoven, Ludwig van rehearsal of chamber music, 81–82, 85–86 n. 39 performances with minimal rehearsal, 73, 100–4 Reicha, Anton, 48 Reichardt, Johann Friedrich, 30–31 rhetoric distinction from artful conversation, 21–25, 42 n. 50, 79 n. 21, 126–27 and gesture, 61 n. 89, 115–16 as metaphor for composition or performance, 27, 69 n. 99, 106, 179 n. 48 Richter, Joseph, Bildergalerie weltlicher Misbräuche, 92 n. 63, 93 Riepel, Joseph, 239 n. 66, 240 n. 70, 243 n. 75 Rochlitz, Johann Friedrich, 84 n. 37 Rosen, Charles on chamber music as “conversation,” 25, 116 n. 12 on sonata form, xviii, 127 n. 32, 167 n. 29, 278 n. 33 on textural interplay in chamber music, xvi, 72 n. 103, 122 n. 19 See also sonata form; texture Rosmaesler, Johann August, 271 rotational form. See under sonata form: in general Rothstein, William on cadences in sonata expositions, 158 n. 9 on metrical theory, 198 n. 2, 198 n. 4, 218 n. 40 on national metrical types, 228, 240 n. 68, 252 n. 88 on phrase (or subphrase) overlap, 229 n. 57, 276 n. 28 on “taking sides” in metrical conflicts, 200 n. 6, 205 n. 17 See also meter and grouping Rousseau, Jean-Jacques, 33 n. 31, 59 n. 83, 118 n. 15 Saint-Aubin, Augustin de. See Duclos, Antoine Jean, The Concert Saint-Aubin, Gabriel Jacques de, The Musical Duo, 6 n. 7, 8 salon. See chamber music; conversation; sociability Sauzay, Eugène, 50 n. 64 Schachter, Carl on analytical “commissars,” 160 on cadences with brief closing chords, 165 n. 21 on meter, 198 n. 2, 205 n. 19, 208–9, 240 n. 68 Schenkerian analysis and form, xviii, 278 n. 33 in general, xvii–xviii, 104 n. 90 and meter, 198 n. 2, 209–10, 220, 240 n. 68 Schmalfeldt, Janet, 103 n. 89, 141 n. 66, 156 Schmid, Julius, Haydn Quartet, 4–6 Schönfeld, Johann Ferdinand von, Jahrbuch der Tonkunst von Wien und Prag, 11 n. 13, 42 n. 50, 75 n. 8, 100, 269 n. 7 Schubert, Franz, works D. 821, Sonata in A Minor for Piano and Arpeggione, 138–41 Schulz, J. A. Peter. See Sulzer, Johann Georg, Allgemeine Theorie der schönen Künste Schumann, Robert, 20 Schuppanzigh, Ignaz. See Beethoven, Ludwig van: and the Schuppanzigh Quartet score performances from unfinished scores, 103–4, 104 n. 92, 106 as recipe, 105 n. 93 “score-based” analysis, 133, 290–92 as script, 123, 128–30, 272–73, 289 See also string quartet: other: publication of scores; workhood script. See score; sonata form: in general: rotational form; theater (as metaphor for musical performance) 323 324 index Seydelmann, Franz, works Sechs Sonaten für zwo Personen auf einem Clavier, 271–72 sight-reading affinities to improvisation, 89–90 of chamber music, xv, 5, 14, 73, 81, 84–85, 91–100 rental of sheet music for, 86–87 of solo-keyboard music, 88–91, 102 slurs ambiguity/inconsistency in Mozart’s notation of, 253 n. 90, 261 n. 100 execution of, 166 n. 27, 177, 213 n. 31, 233, 236 n. 63 and meter, 219, 233–39, 261 syncopation of, 45, 219, 234–40 sociability as analytical category, 155 n. 79 social beverages and drinking, 10–11, 126 n. 29 See also conversation Soirées ou Séances de Quatuors et de Quintettes. See Baillot, Pierre sonata accompanied keyboard sonata, 60 n. 84, 103 n. 87, 159 n. 12 Baillot on performance of, 49 n. 63 categorized by number of Hauptstimmen, 29–30 as dialogue, 26–27, 152 n. 74 for four-hands piano, 124 n. 25, 270–71 as generic term for chamber music, 4 n. 2, 60 n. 84 sonata form —in general introduction, 103 n. 89 loose-knit thematic construction, 148, 173 the New Formenlehre, xviii–xix, 156–58 punctuational vs. thematic models of, 167–68 rotational form, 179–80, 185 n. 53, 186–91 sonata game, 156–58, 290 n. 4 —exposition essential expositional closure (EEC), 158–68, 177–78, 254–55, 277 medial caesura (MC), 118 n. 16, 195 n. 61, 250, 278 subordinate theme, 158–59, 164 n. 17, 166 n. 25, 173 tutti affirmation, 159 n. 13 —development as leading through (Durchführung), 180, 185 n. 53 pre-core vs. core, 180–81 —recapitulation essential structural closure (ESC), 156, 179–80, 280 —See also formal function sprezzatura, 106–7 Stadler, Anton, 17, 96 n. 70, 269, 270 n. 9, 271 Stadler, Abbé Maximilian, 12–13, 18–19 de Staël, Anne-Louise-Germaine, 24–25 Stendhal (Marie-Henri Beyle), 42 n. 49 string quartet —historical sources on genre Baillot, Pierre, 49–52 Carpani, Giuseppe, 41–43 Goethe, Johann Wolfgang von, 20 Griesinger, Georg August, xxi Koch, Heinrich Christoph, 32–37 Petiscus, Johann Conrad Wilhelm, 3, 32 n. 30, 74 n. 4, 85–86 Reichardt, Johann Friedrich, 30–31 Stendhal (Marie-Henri Beyle), 42 n. 49 —historical sources on manner of performance Baillot, Pierre, 48–51 Cambini, Giuseppe Maria, 80–82, 85–86 —other ensemble with stable membership, 78, 85 equality vs. hierarchy among parts in, 32–36, 45–46, 49–52, 116–18, 125–26 first violinist as “leader,” 49–50 and fugue, 32–34, 65–66, 118–21 ideal of unity in performance, 80–86 publication of scores, 79 quartet table (Quartetttisch), 3, 6–7 quatuor concertant, 47–48, 53, 84 n. 38 semi-public and public concert series, 75–78, 74 n. 6 symphonic ideal of, 76 n. 12 visual depictions of, 4 n. 5, 4–6 Sulzer, Johann Georg, Allgemeine Theorie der schönen Künste, 4 n. 2, 26–30, 37 n. 47 Sutcliffe, W. Dean critique of conversation metaphor, 116–18, 123, 125 on musical sociability, 155 n. 79 on texture, 117 n. 13, 159 n. 13, 228 n. 55 Swieten, Baron Gottfried von, 11 n. 15, 87 n. 45 index Tarasti, Eero, 157 n. 7 Tchaikovsky, Piotr Ilyich, works op. 70, Sextet in D Minor (“Souvenir de Florence”), 31 n. 29, 232 Temperley, David, 198 n. 4, 205 n. 18, 207 n. 22, 240 n. 69, 245 n. 78 Tetzel, Eugen, 198 n. 4 texture as analytical category, 72 n. 103 chorale, 176–77 contrapuntal, 28 n. 23, 65–67, 189–90, 230–32 orchestral, 79 n. 21, 140, 250, 281 performers’ experience of, xvi–xvii, 36, 229–30, 292 roles within, xvi, 28–30, 32–36, 71, 160 unison, 160, 248, 274–75 variety of, xvi, 25–26, 32–33, 36, 228–30 See also Koch, Heinrich Christoph; Ratner, Leonard; Rosen, Charles; and string quartet theater (as metaphor for musical performance), 30–31, 61 n. 90, 70, 123, 128–30 tones (vs. notes), 111, 151, 198 n. 4, 249 n. 85, 263 n. 103 topic theory. See musical topics Traeg, Johann, 86–87 Trotti de la Chetardye, Joachim, 23 n. 8 Türk, Daniel Gottlob, 166 n. 27, 233–34 Tuscan Quartet. See Cambini, Giuseppe Maria unison texture. See under texture Viereinigkeit. See Petiscus, Johann Conrad Wilhelm Vogler, Abbé Georg Joseph, 89–90, 168 n. 33, 185 n. 53 voices (vs. parts). See tones (vs. notes) Walthew, Richard Henry, 4 Webster, James, 30 n. 26, 107 n. 98 Wettstreit, 37–40, 152–55, 157–58, 215. See also concertirend Wheelock, Gretchen A. on buffa and seria styles in Haydn’s quartets, 59 n. 81 critique of conversation metaphor, 114–16 critique of William Jones, 22–23 on the minor mode, 59 n. 82, 185 n. 53 workhood evolving conceptions of after 1800, 13, 15, 85, 105 n. 93, 133 n. 53 and music analysis, xvii–xviii, xxii–xxiii, 133, 156–57, 290 oration as a “work,” 23 problematics of, 104–8, 289 n. 2 work-persona as agent, 130–31, 156–57 Zinzendorf, Count Karl, 11 n. 13 325 

20% Discount on this title Mozart’s Music of Friends Social Interplay in the Chamber Works Edward Klorman -
    
Center , CUNY and The Juilliard School, New York  Hardback ISBN: 9781107093652 Published: March 2016 Original Price: £74.99 / $120.00 Discounted Price: £59.99 / $96.00 Offer Expires: 31 December 2016 In 1829 Goethe famously described the string quartet as ‘a conversation among four intelligent people’. Inspired by this metaphor, Edward Klorman’s study draws on a wide variety of documentary and iconographic sources to explore Mozart’s chamber works as ‘the music of friends’. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer’s sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble. To claim your discount, go to www.cambridge.org/9781107093652, and enter Klorman16 at the checkout! For more information on Cambridge titles, please visit our website: www.cambridge.org Cambridge University Press, Shaftesbury Road, Cambridge, CB2 8BS, UK • Traces the history of connections between chamber music and ‘conversation’ and explains what these mean for performers and audiences today • Combines historical, analytical, and performance perspectives and will appeal to readers seeking an integrated approach • Accompanied by online resources, including a complete recording of Mozart’s ‘Kegelstatt’ trio and the world-premiere recording of Momigny’s 1806 vocal arrangement of Mozart’s Quartet in D Minor