Analysis of Mozart’s K. 515 Mvt. 1

Wolfgang Amadeus Mozart volt no(prenominal) 3 in C major, K. 515 Andrew McGuire Dr. Burkart MUSHIS 200 11/19/2012 Wolfgang Amadeus Mozart was a omen of his sequence, and arguable the greatest of all time. This paper testament discuss an analytic thinking of his third string vanadium in C major, K. 515. Through this eyepatch in Sonata Form we will dissect the exposition, the organic evolution, the followup, and the coda along with an outline of the quintet we will concisely discuss parts of Mozarts life, as well as look at the background of the Viola fivesome No. 3 in C Major, K. 515.Wolfgang Amadeus Mozart was born into a melodic family after his sister Nannerl, by his father and bewilder Leopold and Anna Maria. His beginnings would originate in Salzburg, Austria (Eisen). As much is known active the education of little Wolfie we retrieve that his father Leopold is responsible (Jeffery). We also discover that it was not just his melodic education that concerned his f ather but other areas as well, such as arithmetic, reading, writing, and literature (Eisen). Much is not know about the mother of Mozart. She was born into a middle class non-musical family.His father, on the other cash in iodines chips was an accomplished musician and teacher born into life as a choirboy. The nearest compositions to Wolfies K. 515 are a befriend string quintet K. 516 and one of his better known Operas Don Giovanni. Taking a compact break from Don Giovanni Mozart would set off to write a meet off string quintets. K. 515 and K. 516. Written the age of 31, the better-known devil of the lay outs is the g minor quintet (K. 516), and the C major quintet (K. 515) is regarded as the fine of the two. Almost a month would separate the composing of the sister quintets both(prenominal) written for double genus Viola.During the time of the second quartet would be the flip of his father, and some say that there may be a recounting amidst the key of the g minor and t he passing (Christiansen). This dual viola is different for the time, plain presumption that Mozart preferred viola, was promisen as odd. The number of his sise viola quintets is externalisen as rare in comparison to the 66 cello quintets written by Boccherini. Even though these quintets maybe rare in amount, many consider them the finest of the string quintet repertoire (Christiansen). The finer of our finest quintets begins in C major. The longest part of the setoff movement is undoubtedly the exposition.In the first of the one hundred and thirty-one measures of the exposition we recognize our first solution (see physique 1). haoma 1 Ninety-four measures later we see our second issue (see estimate 2). approximate 2 Throughout the piece we will see our two base of operationss return continuously in multiple keys. Anytime we see newspaper one return we see the two lines played between only the first violin and the cello. We see similar segregation for theme two with t he first and second violins. The one time we see the violas given a theme to play is in the coda, and will be discussed later, this theme we will see is theme two in C major.Listening come along we discover that our development turns out to be the shortest part of the piece (Absil). motion one reappears again in the beginning of the development section, only this time we see the theme appearing in the dominant of the piece (see Figure 3). Figure 3 As the development progresses we also see theme two return as well in its original key, the harmonies we see differently, only briefly because it will be what leads us into the recapitulation (see Figure 4). Figure 4 At the end of our very brief development we arrive at our recapitulation.In the recapitulation we see the return of both of our themes in the tonic key. Throughout the recapitulation we see our theme variations return as well in the tonic key. What is found most notable about the recapitulation is the way it ends. One might assume that it would end on the tonic or dominant, because of its movement to the coda, however we find the end of the recapitulation as a vii65/V (see Figure 5). Figure 5 We can argue the beginning of the Coda here because of the keep out of rest. This theory separates the two sections allowing us to make a clear bill where one ends and the other begins.As with codas we find our final theme in the piece the part proceeding the measure of rest (see Figure 5). Delving deeper into the coda we find theme two reoccurring in the tonic key, this time not separate by instrument parts. For the first time in the movement we see the two viola parts obviously playing what is the theme (see Figure 6), right before we see the second viola briefly alter with the cello. Figure 6 After the brief return of theme two between the cello and violas we end happily on the tonic of the piece. general I thoroughly enjoyed this piece.Not only this piece but also this assignment. It is one thing to sit in class and read about and draw a bead on notes over sonata-allegro form. It is completely another to be expected to dive deeper into a piece and try to figure out its inner most workings. As a violist I also appreciate the fact that Mozart went against the normality of the cello quintet and wrote a viola quintet. The fact he was willing to go against what was expected of him by society makes me respect him as a composer even more. After a glimpse into the life of Wolfgang Amadeus Mozart, we have discussed his Quintet No. 3 in C major.Discussed its themes and their placement, as well as briefly the variations of these themes. We also saw a brief glimpse into history nigh the time that the K. 515 and what could be considered its sister K. 516 were written. Works Cited Absil, Frans. medicational Analysis see the Great Composers. (2005) 8. Absil, the Netherlands. Sept. 2012. Web. 7 Nov. 2012. . Christiansen, Kai. String Quintet (viola) No. 3 in C Major, K. 515. Mozart. Music at Kohl Mansion, 2012. Web. 7 Nov. 2012. . Cliff Eisen, et al. Mozart. Grove Music Online. Oxford University Press. Web. 18 Oct. 2012. http//www. oxfordmusiconline. com/suscriber/article/grove/music/40258pg3. Gallagher, Sean and Thomas Forrest Kelly. The Century of bach and Mozart Perspectives on Histoiography, Composition, Theory, and Performance. Cambridge, Massachusettes Harvard University Press, 2008. Print. Jeffery, G. Mozart, Maria Anna Nannerl Mozart, Maria Anna Nannerl N. p. , 1998. Web. 5 Nov. 2012. . Kerst, Friedrich.Mozart the Man and the Artist Revealed in His Own Words. New York L. Dover Publications, 1965. Print Mirka, Danut. Metric Manipulations in Haydn and Mozart domiciliate Music for Strings, 1787-1791. Oxford, New York Oxford University Press, 2009. Print Mozart, W. A. String Quintet No. 3 in C major, K. 515 (I). Alban Berg Quartet. EMI Classics. CD. Mozart, W. A. String Quintet No. 3 in C major, K. 515 (I). Fine Arts Quartet. Musical Concepts. CD Mozart, W. A. Qu intet in C Major, K. 515 (I). Wolfgang Amadeus Mozarts Werk, Serie 14 Quartette fuer streichinstrumente. Leipzig Breitkopf und Haertel, 1877-1910. 1-12. Score.