* LECTURES ON MUSICAL ANALYSIS. LECTUEES ON MUSICAL ANALYSIS, DELIVERED BEFORE THE ROYAL NOEMAL COLLEGE AND ACADEMY OF MUSIC FOE THE BLIND. BY HENRY C. BANISTER, PROFESSOR OF HARMONY, COUNTERPOINT AND COMPOSITION (AND OT TH* PIANOFORTE) IN THAT INSTITUTION, IN THE GUILDHALL SCHOOL OF MUSIC, AND IN THE ROYAL ACADEMY OF MUSIC. rsbistb. LONDON : GEORGE BELL & SONS, YORK STREET, COVENT GARDEN. 1888. RICHAED CLAY & SONS, LIMITED, LONDON & BUNGAY. TO FEANCIS JOSEPH CAMPBELL, ESQ., LL.D., F.K.G.S., 3 Jtefcirat* this Volume, BOTH AS A TESTIMONY OF PERSONAL FRIENDSHIP, AND IN RECOGNITION OF THE ENCOURAGING INTEREST TAKEN BY HIM IN THE DELIVERY OF THE LECTURES HEREIN CONTAINED AT THE COLLEGE WHICH HE DIRECTS WITH SO MUCH ACTIVE ENERGY AND WITH SUCH ADMINISTRATIVE ABILITY. H. C. B. PREFACE. IT has been my custom for some years past, in my capacity as Professor of Harmony, Counterpoint, and Composition at the Eoyal Normal College and Academy of Music for the Blind, Upper Norwood, to assemble the Pupils in the evening, after a day's class-work, in the hall of the College, once a fortnight, to listen to a Lecture upon the structure of Musical Compositions, illustrated upon the Pianoforte. This seems to me to be the kind of training which is of great importance to all Musical Students, as an adjunct to their own theoretical studies and exercise work. In the case of the specially circumstanced audience of young people whom I had the pleasure of addressing, it was an experiment that I made, not without some misgiving as to my power of making the subject clear and interesting to those who could not scan the works analysed, or trace in the copy the course of the exposition offered ; although the training in the College includes frequent performances in their hearing of the entire repertoire of the finest Pianoforte music, with brief explanations. All doubt was over, however, after the first attempt. The interest awakened by the first Lecture was evinced unmistakably, both at the time and afterwards, throughout the College, by conversation and discussion. That interest has never nagged ; which has testified to the charm of the subject, and to the excellent mental training which the Pupils receive in the admirable Institution in which they are educated. V1U PREFACE. The continued eagerness among the younger as -well as the elder students, led me to consider whether, if the Lectures, originally delivered from rough notes, were fairly arranged in readable form, they might be useful to Musical Students generally ; and I determined to make a selection from those delivered, and so to prepare them for the press. This volume is the result. It is offered, not as by any means furnishing a complete course of instruction in Musical Analysis. This would require a much larger work. But, in familiar manner, it deals consecutively with some of those elementary principles of Musical Structure, illustrated in the works of the Great Masters, with which every student should become acquainted, who aspires to intelligence about the Art. Movement Struc- ture is the one subject herein expatiated upon. The work is not a treatise upon the art of Composition, but a commentary upon existing compositions, and an explanation of various structures. I have not attempted completeness, fulness, or didactic dogmatism. I have adhered to the general familiar colloquialism which all along has characterized my " talks " with my blind pupils: for "are you going to talk to us to-night ] '' has been the form of inquiry : the formal term Lecture has been little used. Let these familiar papers, then, be accepted as a sample of the kind of work which is being carried on in the Institution ; and further, of the kind of helpful work which, without any great pretension, any friendly teacher may carry on with willing pupils. And, still further, let Musical Students accept these Lectures as affording some helpful guidance in their analytical studies : showing them what to look for, and how to look for it. It will be evident that, whereas I had the opportunity when delivering the Lectures of playing the illustrative passages from the works analysed, reiterating them, and showing their contextual and other bearings, I have been PREFACE. IX compelled in this volume, by considerations of space, to give only just such brief extracts as are absolutely necessary to render the analysis at all intelligible, and to enable a reader to follow the explanations. But as so large a proportion of the works referred to are within reach, and should be in possession of every earnest Musical Student, I strongly urge that this book be read and studied with the works quoted also before the eye, so that all the references may be made, and the complete passages examined, from which brief ex- tracts only are here given ; as well as the entire Movements in which those passages occur. These entire Movements were in most cases played by me, in connection with the delivery of the Lectures. The identification of the Sonatas of Beethoven is by the Opus numbers. Those of Haydn and Mozart being differently numbered in various editions, it will be convenient here to state that the numbers herein given are those in Pauer's edition, published by Augener and Co. After most of these Lectures had been delivered, and some were already in type, I had the privilege of hearing Professor Sir G. A. Macfarren lecture on some of the Sonatas by Beethoven, and was gratified to find some of the analytical remarks made by myself confirmed by the coincidence of so high an authority. I have the pleasure of acknowledging the courtesy of Mr. Swinburne in readily according me permission to grace my pages by inserting the two exquisite Roundels quoted in the eighth and eleventh Lectures. H. C. B. London, March 1887. CONTENTS. LECTURE I. PAOB INTRODUCTION. ANALYSIS DEFINED. THE SONATA, SYMPHONY, ETC. FIRST MOVEMENT FORM : FIRST SUBJECT : GENERAL CHARACTERISTICS ... ... 1 LECTURE II. FIRST MOVEMENTS, continued: SECOND SUBJECT. CON- NECTING PASSAGES ... ... ... ... ... 13 LECTURE III. FIRST MOVEMENTS, continued: SECOND SUBJECT IN OTHER KEYS THAN THE DOMINANT. MOVEMENTS IN THE MINOR MODE ... ... ... ... ... 39 LECTURE IV. MOVEMENTS IN THE MINOR MODE, Continued 69 LECTURE V. INTRODUCTIONS TO MOVEMENTS ... ... ... 95 LECTURE VI. SECOND PART, OR FREE FANTASIA ... ... ... 115 LECTURE VII. SECOND PART, continued ... ... ... ... 135 xn CONTEXTS. LECTURE VIII. PAGE SECOND PART, continued: SUMMARY 169 LECTURE IX. MOVEMENT OP EPISODE. RONDO. EARLY EXAMPLES. RAMEAU, COUPERIN, BACH 205 LECTURE X. THE RONDO, continued: HAYDN AND MOZART ... 227 LECTURE XL THE RONDO, continued : EXTENSION : CONJUNCTION WITH FIRST MOVEMENT FORM. DUSSEK, BEETHOVEN, WEBER, MENDELSSOHN, BENNETT, ETC. GENERAL REQUIRE- MENTS IN STRUCTURE ... ... ... ... 253 LECTURE XII. THE CODA AND CODETTA 271 LECTURE XIII. THE MINUET AND SCHERZO 287 LECTURE XIV. FUGUE 311 LECTURE XV. FUGUE, continued 339 LECTURE XVI. GENERAL SUMMARY. EXCEPTIONAL STRUCTURES. THE FANTASIA. THE CONCERTO. THE OVERTURE. AIRS WITH VARIATIONS. VOCAL MUSIC. CONCLUSION ... 361 INDEX 371 LECTUEES ON MUSICAL ANALYSIS. LECTUEE I. MUSICAL ANALYSIS DEFINED. A MOVEMENT. SONATA, OE FIRST- MOVEMENT FORM : MOVEMENT OF CONTINUITY, OR DEVELOPMENT. FIRST SUBJECT. EXAMPLES FROM HAYDN, MOZART, AND BEETHOVEN. CHARACTERISTICS : CLEAR RHYTHM, SIMPLE HARMONY, ADAPTATION FOR WORKING. I PROPOSE to speak to you about MUSICAL ANALYSIS. You know that, whereas Synthesis means putting together, Analysis means taking to pieces. A musical Composition is a work in which, ideas are placed, or posed, in orderly succession and combination. We do not speak of decomposing a musical work ; but we do analyse, take it to pieces, find out its several parts, and how they are put together. We shall do this, not in order that you may know how you may put your ideas together, and become composers ; but that you may intelligently enjoy the Music that you practise or listen to, by understanding its structure. At the same time, there can be no better training for young composers than the analytical study of the works of the great Masters. A com- poser may originate beautiful ideas, and we then call him a Genius ; but he may not have had the training, or may not possess the mastery of his resources, requisite to set forth those ideas in the strongest way. Chopin and Dussek very different composers were geniuses, but not masters. Hummel was a master, but not a genius. Of course I am expressing my own opinion ; but I think it is the general one among mature and competent musicians. We may as well take a composition of sufficient extent and development, in order to furnish scope and material for analysis. If I were beginning at the other end of the process, I should take short themes, and show you how they can be put together, and welded into a MOVEMENT, which is the term applied to a single complete composition of some B 2 4 LECTURES ON MUSICAL ANALYSIS. [LECT. considerable length. Instead of this synthetical process, however, we will take a particular form of Movement, and analyse it. There are different forms : that is, Movements are constructed on different plans. That which I think well to take, in the first instance, is the plan of structure known as SONATA form : more properly first-movement form, being that in which the first movement of most Sonatas, Symphonies, instrumental Quartets, Trios, &c. is usually written. It is also known as the Movement of Continuity, or of Development. The first term, Continuity, indicates that the Movement has one continuous train of thought, like a narrative or an argu- ment, as distinguished from au Episodical Movement, here- after to be described. The second term, Development, indicates the unfolding of ideas, or Subjects: the term SUBJECT, in musical terminology, meaning a more or less complete idea, or THEME : this last word signifying a subject laid down, as for argument or treatment. The word Sonata means sounded, or rung ; just as Cantata means sung. But a Sonata is now understood to be a composition in at least two, generally three or four, movements, or complete portions (like chapters in a book), for one or more instruments. When for three instruments, the work is usually termed a Trio : when for four, a Quartet : and so on, the terms Quintet, Sextet, Septet, Octet, Nonet being used according to the number of instru- ments. Such music is termed chamber, or concerted music. When the composition is orchestral, that is, for a full band of instruments, wind and stringed, the work is called a SYMPHONY. But the general method of construction, the plan of the movements, is the same in all these cases. There is a difference in the Concerto, to be hereafter explained. In old times, however, the term Concerto had similar meaning to Symphony. Some of you younger pupils are only advanced enough to practise Sonatinas ; but a Sonatina is simply a little Sonata, I.] SONATA, OR FIRST-MOVEMENT FORM. 5 the plan, in most cases, being the same as that of a larger Sonata. So that you will be able to understand and apply the explanations, all the same. Briefly, the plan, or order of ideas, in the first movement of a Sonata, or similar work, is this : (a) the first Subject : then some connecting matter leading to (6) the second Sub- ject, followed by some supplementary matter, and, probably, a Codetta, finishing the first part of the movement, at the first double bar. Then comes (c) the second part, or, as some term it, the FREE FANTASIA, which, in the main, con- sists of the development or working of the material of the first part. This leads to the third part of the movement, which is (d) the Recapitulation, indicated by the return of the (first} Subject, and the repetition, with modifications, of the matter of the first part ; and, sometimes, a Coda. This, with some differences and exceptions, is the general outline of the movement that we are considering ; and the details I shall describe to you in order. It will be convenient to consider, in the first instance, movements in the major mode, by which we mean beginning and ending in that mode : not at all meaning that there are no modulations to the minor mode. Some movements that begin in the minor mode terminate in the major, but are spoken of as in the minor. Very rarely do movements begin in the major mode, and end in the minor. To begin, then, with the First Subject, or complete idea, which is in the key of the movement : that which through- out I shall call the original key, or TONIC. This Subject of a Sonata movement is very different from a Fugue Subject, about which I shall speak in another Lecture. This latter consists of a few single notes, of marked character, and extends, at the utmost, to a very few bars in length. "Whereas, a Sonata Subject is of considerable extent : never less than eight bars, and often extending over about a page. Moreover, LECTURES ON MUSICAL ANALYSIS. [LECT. it is not of single notes, but is harmonized, or accompanied ; or, in fact, often is so homogeneous, consisting so much of interwoven parts, that it could not be represented by single notes. Here is, firstly, a Subject by Haydn (Sonata No. 30), of eight bars, terminating with a Perfect Cadence, or Full-close : i. e. the Dominant harmony followed by that on the Tonic, (Ex. 1.) (1) Allegro con brio. -pi . *p h *. f-/ -m~* X*. fggg^f The fourth bar ends with a Half-close, or Imperfect Cadence : i. e. the Dominant harmony preceded (in this instance) by the Tonic. Thus, this Subject divides itself I.] FIRST SUBJECT. HAYDN. 7 into two rhythmical sections, of equal length, after the manner of verse writing. Music is a rhythmical language, with pro- portion in its parts, parallel in its phrases, one thing being " set over against another." It has been well said that Music gives the "rhythmical arrangement of sounds not articulated, while from the like arrangement of articulate sounds we get the cadences of prose and the measures of verse." * The rhythmical divisions, in Music, are indicated by the more or less decisive, terminal, or restful cadences, in conjunction with the accents. This Subject by Haydn is in four-bar-rhythm : an even number of bars to the Phrase or Section : the two terms being somewhat loosely applied to each division of four bars. This even, regular rhythm is quite the most usual in the first presentation of simple themes, in the older Masters' works at all events. Irregular and broken rhythms will be considered in another Lecture. They occur, principally, in the development of ideas. It may be mentioned that the Subject here given is followed by a passage commencing in the same key, which would, by some musicians, be considered a second division of the Subject; but, as this Subject closes so definitely, it seems more natural to regard the passage in question as intermediate, leading to the Second Subject. In another Lecture I shall again refer to this same Subject, t The next Subject is that of Mozart's Sonata, No. 5. (Ex. 2.) (2) Allegro. Guest's History of English Rhythms, Chap. I. f See Lect. VIII. 8 LECTURES ON MUSICAL ANALYSIS. [LECT. ^==^^--^-~^--^ E3= p* H si ! h^- . -i 1-| This is of ten bars' length. In the Sonata, the last six bars are repeated, with slight variation ; this repetition serving, perhaps, to assist in the apprehension of the prolongation of the second Section. For the ten bars are not divided into two Sections of five bars each ; but the first Section ends at the fourth (complete) bar, and the second Section, commencing at the third beat of that bar, extends to the end of the Sub- ject. Observe that the two beats of the last (incomplete) bar correspond with the one beat with which the Subject begins. The next Subject is that of Beethoven's Sonata, op. 10, Ko. 2. (Ex. 3.) This consists of three Sections of four bars each. (3) Allegro. I.] FIRST SUBJECT : BEETHOVEN, OP. 10, NO. 2. 9 .J 1 I i=j=^=t If the Subject of Mozart's might be considered a Diptych, two-fold, this may be called a Triptych, three-fold. The first phrase or section, broken into fragments, as by commas, ends with a discord, the first inversion of the Dominant 7th : it is marked rather by rhythm than by Cadence. The second phrase briefly touches on the key of the Sub-dominant, ending with an inverted Cadence in that key. This is not reckoned one of the modulations of the Movement, being so brief : only of the Subject, which is complete in itself. The third phrase ends with a Perfect Cadence. Observe how simple these three Subjects are, both in structure and in harmony : little else than Tonic, Dominant, and Sub-dominant harmonies being used. If I were to give you the following figured basses to fill up, you would think them very easy little exercises, with very little range or variety ; and yet they represent the successions of harmonies 10 LECTURES ON MUSICAL ANALYSIS. [LECT. of the last two Subjects, which are so varied in their forms, or modes of presentation of those harmonies. (Ex. 4, 5.) (4) (5) 76 6 7 4 3 One more example from Haydn will illustrate how a little irregularity of rhythm may be balanced and, so to speak, equalized. It is from Sonata No. 28. (Ex. 6.) The Subject con- (6) Allegro Moderate. y^j f g5~^R! I.] ENDINGS OF FIRST SUBJECTS. 11 sists of eight bars, in three phrases : the first, of three bars, terminating on the first inversion of Tonic harmony ; the second, of two bars and a half, terminating with a Perfect Cadence ; and the third of the same length, ending in like manner. This Subject, like those previously quoted, contains little but Tonic, Dominant, and Sub-dominant harmonies. All these Subjects terminate decisively on Tonic harmony. Some Subjects, however, do not end in this manner, but break off Avith a half-close, or Imperfect Cadence : that is, on Dominant harmony. This is somewhat as though a novelist gave only a partial delineation of his hero, before introducing the heroine, and bringing about incidents. Such is the case in Beethoven's Sonata, Op. 49, No. 2, in G major, where the half-close, bars 14 and 15, simply introduces the prolonged dominant bass, which terminates at bar 20 ; and then comes the second Subject. The same absence of a full close of the Subject is to be observed in Mozart's Symphony in C, known as the "Jupiter " (first movement). Again, some Subjects are of considerable length, and consist of several Sections, properly so called, or portions, divisible into Phrases. A notable example is that of Beethoven's Sonata, Op. 28, known as the " Pastoral " (though not so called by the composer). This Subject extends to twenty- nine bars ; and consists of a Section of ten bars, reiterated : then another Section of eight bars, reiterated, with a codetta (little tail-piece) formed from the previous phrase. Similarly, the same master's Sonata, Op. 31, No. 3; the first Subject of which may be considered as terminating at bar 29, and is broken into phrases, which are easily discernible. Besides these matters of rhythmical division, there are other features in good Subjects, such as those which we have been examining, which will better be considered when we are studying the development of Movements ; as these features have to do with the suggestiveness of the Subjects : the 12 LECTURES ON MUSICAL ANALYSIS. [LECT. I. loorkable material in them. I can hardly help the anomaly of using the word material to designate that which is purely mental. One feature you may easily notice : the number of small figures, fragments, motivi, as they are termed, which may be, so to speak, detached from the Subject, for separate treatment. LECTURE II. FIRST MOVEMENTS IN THE MAJOR MODE, Continued. SECOND SUBJECT, AND CONNECTING PASSAGES. 15 II. HAVING considered the first Subject of a Sonata movement in a Major key, we have now to proceed to the second Subject. This is, in most cases, in the Dominant, the 5th of the original key. There are notable exceptions which I shall tell you about in the next Lecture. This second Subject in a new key is not taken at once, however, on the conclusion of the first Subject, except in some very concise Movements, or Sonatinas ; but is approached by means of Modulation. If the new key were taken promptly, without any modulating process, we should call that plunge into, or start in, the new key, a Transition, rather than a Modulation. But that is not the usual method of proceeding in this kind of Movement, being less of the nature of continuity, which is one of its characteristic features. I may here say that in some of the earlier compositions of the class that we are considering, the general outline is observable in the order of keys, Tonic and Dominant, for the first part, related keys for the second part, return to the Subject and key; but often without any dearly defined second Subject, of a contrasted character. The portion in the new key is rather a continuation, or second part of the first Subject. This you will find to be the case in many of the Suites and Partitas of Bach, Handel, and other writers of early period ; these compositions having been the precursors of the Sonata as we now have it. The germ of the more 16 LECTURES ON MUSICAL ANALYSIS. [LECT. fully developed plan is therein visible. Take, for instance, the Allegro of Handel's second Suite. (Ex. 7.) The first four (7) Allegro. bars, truly, may be said to be complete in themselves, termin- ating with a full-dose ; but that which immediately follows, albeit that it is in the Dominant, C major, is so uncon- trasted, so similar in movement, as hardly to be termed a second Subject : it is more like a carrying on of the original thought, but with the excursion to the related key. You will find similar instances in the Allemandes of Bach's Suites Franfaises, Nos. 5 and 6. "We shall also notice the same II.] APPROACHING THE SECOND SUBJECT. BEETHOVEN. 17 thing when we examine Movements of short dimensions in subsequent Lectures. In some Movements, instead of a modulating process of progression to the key of the Dominant, ihe first Subject does not end with a full-dose, but comes to a half-close, as we saw in the last Lecture ; and this being on the Dominant harmony, not in the Dominant key, the Dominant harmony is at once assumed, so to speak, as a new Tonic, and the second Subject forthwith commences in that new key, so reached. This is the case in Beethoven's Sonata in G major, Op. 49, K"o. 2, referred to in the last Lecture. (Ex. 8.) Allegro ma non troppo. 21 18 LECTURES ON MUSICAL ANALYSIS. [LECT. Although, in bars 14, 15, there occurs what might be con- sidered a modification of a close in D major, yet, the fact that the Dominant chord to that key is only in an inverted form, which is not powerful, and then the recurrence, in the continued passage on D, of the Dominant 7th in the original key, combine to give the impression of the close at bar 20 being imperfect : then follows the second Subject, in D. A similar example occurs in Mozart's Sonata, K"o. 16, commencing thus : (Ex. 9.) Bars 10 to 12 (Ex. 10) give, in like manner to the example from Beethoven, a half-close. (9) Allegro. -i I ' i ~i~f"~1~'~j'i ! ' &.C 1 14 15 II.] APPROACHING THE SECOND SUBJECT. MOZART. 19 Then, however, most dexterously, bar 13 implies the Dominant to the new key, and the second Subject enters at bar 14. In other Movements, a half-close on the Dominant of tlie new key is made, prior to the entry of the second Subject. This may imply some anticipation of the change of key, and needs much adeptness to avoid the impression of a double- dominant. (See my Text-book of Music, 345.) In Mozart's Sonata, No. 7 (Ex. 11), the modulating passage terminates (11) Allegro con spirito. with a half-close on D ; and then the two bars of so to speak poising on the Dominant harmony introduce the second Subject. (Ex. 12.) But now we must look at this modulating process. The (12) "*"- -*- . - &^L+ML*L. y .. i-r " : ' r -fa ^ ' ' ' is^rz agE 111 1 L J_ Jhrf_J_ U U_^H-M^^Tf f ^ ^< ^-^= :-- u^ &-* ji 1 P p 5 J C 2 20 LECTURES ON MUSICAL ANALYSIS. [LECT. 2nd Subject. methods of modulation, so far as the harmonies are concerned, many of you understand, more or less. But then, as I say to you in class sometimes, skill is required to effect the modulation in such a way as to introduce the new key, I had almost said, unawares : at all events, without parade, or formality : naturally, and, moreover, in keeping with the flow of the music : sometimes so as to lead to the second Subject, in the new key, as a felt result, or climax, or restful point. In many cases, instead of such half-closes or dividing- lines as those that I have quoted, the second Subject is linked on with such insinuating charm that all seems continuous. Some figure or motivo, drawn from the first Subject, is frequently made use of for modulating working. I can only call your attention to a few instances to illustrate that which I have just stated. In Beethoven's Sonata, Op. 14, No. 1, the first phrase of the Subject is Ex. 13. The modulating passage commences rti 1... * . ^- --; - r simultaneously with the termination of the Subject, at bar 13 (Ex. 14), and consists of an extension of the opening of II.] BEETHOVEN, OP. 14, NO. 1. 21 *=pi 19 r 20 af 21 -J -J- 2nd Subject. k *= -W- 1 I I 22 &c. 22 LECTURES ON MUSICAL ANALYSIS. [LECT. the Subject, and a reiteration of the little semiquaver figure of bar 4, the Pedal-bass character being kept up, and the unity thus preserved. The third and fourth bars, moreover, of this passage, are formed by an augmentation i. e. taking in longer notes of the left-hand passage of bars 9 and 10 of the Subject. (Ex. 15.) -. . .. 1 f^ S Ut , ^3 Another instructive example is from Beethoven's Sonata, Op. 31 (or 29), No. 3 ; which, moreover, presents points for comment, upon which I had better dwell at once, even though I digress from the matter which we are specially considering. The Subject opens with these eight bars (Ex. 16), which are repeated with change of register. The first harmony, which has been known as the added 6th (Rameau's theory), (16) Allegro. 1 IL] BEETHOVEN, OP. 31, NO. 3. 23 you know, from our class-lessons, is now considered the third inversion of tho chord of the llth, root Bb; and proceeds (bar 4) to diminished 7th on A, root F, Supertonic of the key. This proceeds (bar 6) to second inversion of Tonic harmony, which is followed by a full-close. We shall recur to this Subject in another Lecture, for further instruc- tion. After the reiteration, some fragmentary passages (Ex. 17) lead to Ex. 18. Observe how easily the modulation is (17) A 24 LECTURES ON MUSICAL ANALYSIS. [LECT. introduced; "but even this new Tonic, Bb, is for a while treated rather as though it were a Dominant. At bar 7 of this extract the Subject is again referred to, with the Minor (instead of Major) 9th, Cb, to the root ; and by a few bars drawn from the second figure of the Subject, the chord of the Augmented 6th on G'9 is reached, and then, by the Dominant harmony, the second Subject. Bars 17, 18 give by augment- ^s^fesisi^Sifj II.] BEETHOVEN, OP. 31, NO. 3. 13 14 15 16 25 1? | | T4-J-^ 19 2nd Subject. 20 ation the figure of bar 3 of Ex. 17. Thus, from the begin- ning to the second Subject, all liangs together ; and, pedal-bass apart, the whole first Subject is built on the simple harmonies indicated in Ex. 19. This, with similar examples in our (19) 6 5 JJ6 i>7 4 aij> ^ L StjC last Lecture (pp. 8, 9), may show some of you what may be done to impart interest to apparently unpromising, or, at 26 LECTURES ON MUSICAL ANALYSIS. [LECT. least, very limited, figured basses, such as you have to work. Another beautiful example is furnished in the Sonata of Beethoven, Op. 10, No. 2, of which the Subject was given in the last Lecture (p. 8). After that Subject the following few bars occur (Ex. 20), which are obviously suggested by (20) Allegro. - >q g!_~.i_ H the Subject. The effect on the ear of the chord of the Augmented 6th, in its so-called German form (see my Text-book, 349), is that of a 7th Eb on F; but the enharmonic change is made which leads to a half-close in A minor, and this diversion renders the entry of the second Subject charmingly welcome. The enharmonic is sufficiently dwelt upon to prevent undue abruptness : a point sometimes neglected by young writers. A similar instance of a half- IL] BEETHOVEN'S OP. 22. 27 close on E, to precede the second Subject in C ; occurs in Mr. Prout's admirably constructed Symphony in F, No. 3. In Beethoven's Sonata, Op. 22, the Subject of which com- mences thus (Ex. 21), and ends with a close on the Tonic, (21) Allegro con brio. -4- -4 bar 8, the following passage (Ex. 22), on the figure of the Subject, leads to a half-close, succeeded by yet another passage drawn from the Subject, bars 11, 12, and then a modulating passage, bars 13 to 15, leading to a half-close in F, bar 16, (22) 7 8 28 LECTURES ON MUSICAL ANALYSIS. [LECT. EHgpgillilggl -y^-? =t= F37*- f -L^kJ=-M ^"M L the passage on the Dominant of that key terminating thus (Ex. 23), the connecting scale-passage linking on the second Subject by being responded to in the left-hand. In early writers, Haydn and Mozart, the second Subject was not unfrequently of very similar character to the first ; in fact, almost a variation of it, in the new key, at least in its earlier phrases. Thus, in Haydn's Sonata, No. 5, the first phrase II.J SECOND SUBJECT : HAYDN. 29 (23). ?=??- i i i i -ffB- i"Tn- T te ig^^-g?! rm r ~ 'rf j- dim. 2nd Subject. ^ &c. of the first Subject consists of these six bars (Ex. 24), and the second Subject commences thus (Ex. 25). The similarity (24) Allegro moderate. 30 LECTUKES ON MUSICAL ANALYSIS. [iJECT. (25) -- .f _ U 3 _* _ Ay. is obvious. The first four bars of his Sonata No. 29 are (Ex. 26) : the second Subject commences thus (Ex. 27). (26) Allegro modemto. +' - II.] SECOND SUBJECT SOMETIMES LIKE THE FIRST. (27) 31 ^a^^^^^WDC^ Observe the imitation between the second half of bar 4, and the first half of bar 5 : small indeed, but one of those small things which are characteristic of unity of thought. His Sonata No. 32, again, has its first Subject commencing thus (Ex. 28), the second Subject thus (Ex. 29). In these cases, however, some entirely new material succeeds the commencements here given just illustrating how, in Music as in other matters, an initial idea may give rise to different trains of thought. 32 LECTURES ON MUSICAL ANALYSIS. [LECT. (28) Allegro. -t-i- *f sy^*=F* g -/* I t/ 1 ^-L_i 1 _P._ ^R> - * - S H S - S ffs=^^i= *:*^ . . a f-0- fcfc== = a- II.] SECOND SUBJECT LIKE THE FIRST. (29) 33 F- *3EEE 3_ . 4-h _J z. Ice. . In Mozart's Sonata No. 2, the first Subject "begins thus (Ex. 30). Observe the bass, bars 1 and 2. The second (30) Allegro assai. 34 LECTURES ON MUSICAL ANALYSIS. [iJECT. Subject commences with the arpeggio figure in the bass, taken by inverse movement, after the triplet passage. (Ex. 31, bar 5.) This triplet passage, moreover, recurs, slightly ^JL 3 n > nff*--*- u t i L^m^u^-^grm^^^qffi^^ 2nd Subject. rFlP-FlF-^ EE3^ffi^^ ^^^^ kM^^^ __ --* 11 * I- ^1 11 12 f 13 COMBINED FIGURES. 20 "-S3 21 ny^a t-^-t- it- altered, in the second portion of this second Subject : compare bars 5 and 16. The first Subject of Mozart's Sonata No. 18 (of which there is also a version with violin accompaniment) begins (32) Allegro. 2nd figure. 1st figure. JtT^ ^ I-JJJ t _ J __ __ D 2 36 LECTURES ON MUSICAL ANALYSIS. [LECT. thus (Ex. 32). The two figures of this are brought together for the second Subject. (Ex. 33.) (33) 2nd Subject. 2nd figure. 1st figure. A similar example to those here cited of likeness between first and second Subjects is referred to in my Text-book, page 212, Figs. 353, 354. Much more usual, however, is it for the second Subject to be quite different, in character and in rhythmical figure, from the first Subject, as in the Examples from Beethoven already given. If the first Subject be of a somewhat bravura (brave, spirited) or risoluto (resolute) character, the second Subject is II.] CONTRASTED THEMES. 37 frequently of a more tender cantdbile (singing) character : the two being somewhat in the relation of hero and heroine in a novel. And, as in such analogical case, there will be fore- thought about their availableness for mutual working in the development of the movement, as we shall hereafter see (Lecture VII). Whereas a Fugue may be considered as a monograph, one theme being dwelt upon, and more or less exhaustively worked out ; in a Sonata movement, such as we are considering, on the other hand, we are interested in the connected workings of at least two principal themes, witli some of a subordinate kind, as in the characters of a novel or drama. We are mainly interested in Romeo and Juliet, but we cannot dispense with Friar Laurence, or the garrulous Nurse. LECTUEE III. MOVEMENTS IN THE MAJOR MODE, COntimied. SECOND SUBJECT IN OTHER KEYS THAN THE DOMINANT. INSTANCES OF FALSE NOTATION, AND IMPLIED ENHARMONICS. MOVEMENTS IN THE MINOR MODE. 41 III. You will quite understand the fitness of that which I have told you, and which you must have observed for yourselves, that the second Subject of Movements in the Major Mode is generally in the key of the Dominant, that being the most natural key to which to modulate, on account of the Tetra- chord in common between the two keys. (See Text-boob, 53, 352.) So natural, indeed, is it to modulate to that key, that some weak composers even make a modulation in the second Subject itself, to the Dominant of the key in which that is written, which is a weakness, besides being too remote from the original key of the Movement, before the memory of that key has passed away. It is worth your while to observe how this weakness is avoided by the great masters, Haydn, Mozart, and Beethoven, especially in the kind of Movement that we are considering. But there are some instances to be noticed in which the second Subject of Major Movements is not in the key of the Dominant, but in some other key having affinity with the original key. In Beethoven's Sonata in A major, Op. 2, No. 2, commenc- ing (Ex. 34), the second Subject begins in E minor, which is not the true Dominant to A, not having the Leading note to that key. (Ex. 35.) By a somewhat unusual progression through G,B flat,&c., very transient, however, the harmony of the Dominant minor 9th is reached, and I need not tell 42 LECTURES ON MUSICAL ANALYSIS. [LECT. (34) Allegro vivace. you that this may be resolved either to the Major or to the Minor chord on the Tonic. Beethoven resolves it on the Major harmony, and in that key the first part closes. (35) 2nd Subject. 3 sf W 6- 7s/ in.] IMPLIED ENHARMONICS. 43 W^J^Et^^P J Observe the implied, not expressed enharmonic change in bars 3 and 4 of this Subject. The root of bar 3 is B, dominant of E, the E (with ornamental F) being an Appoggiatura to Dtt, -which latter note is really changed to Eb in bar 4, though not so written, with the root Dfl, dominant to G. Similarly, the Ftt in bar 7 is the major 3rd in the chord of the minor 9th on D, dominant to G, and is in bar 8, by implication, changed enharmonically to Gb, minor 9th of Ffl, dominant to Bb. I digress in this way to call your attention to any noteworthy point for you, as students of harmony, to observe in any Subject or passage that comes before us ; and I do not think that you will be diverted by sucli a digression from the main line of thought, which, just now, is the exceptional keys for the second Subject. In Beethoven's Sonata in C major, Op. 2, N"o. 3, the modulating passage after the termination of the first Subject has a half -close on G, the passage itself having the harmony 44 LECTURES ON MUSICAL ANALYSIS. [LECT. of G major prominent. But the second Subject then begins in G minor (Ex. 36), the change of mode not being abrupt (36) Allegro con brio. pP=Qr! r=f-F i r^i f=z b^ [ n I T- llgliffi ' i F r Sft 1 r - ^^E^^E^EE - i III.] DIVISIONS OF SECOND SUBJECT. 45 * * * * *__ I L- ^?=g=c after the single note close, with the subsequent rests. This second Subject, first portion, is noticeable, firstly, for its rhythm, a phrase of two bars succeeded by one of four bars, and this rhythmical structure repeated. Secondly, its discur- siveness, through C minor, D minor, and A minor, in which key it makes a close, though not in decisive manner. This is followed by a risoluto passage leading to a close on the Dominant harmony of G, on which harmony a brief passage leads to a tranquil, singing theme in G major. (Ex. 37.) This may be regarded as the second division of the second Subject. But at this point of my explanation it may be well, once for all, to say that musicians differ in their way (37) G> : , *m U^J ! 9 t 46 LECTURES ON MUSICAL ANALYSIS. [LECT. of analyzing such a succession of themes. According to some, all that portion which is in the same key, or even has the same Tonic, with difference of mode, is to be considered as constituting one Subject, though in two or more portions, or divisions. According to others, each fresh portion, with a clearly defined commencement, such as the theme that is now before us, is a new Subject. So that these analyzers would consider this as a third Subject, or else as the second Subject proper, regarding all that portion from the beginning in G minor to this G major theme as intermediate, or as preamble. The adoption of one or the other methods of classification will depend upon the more or less manifest connection between the several portions or themes. Similar instances will come before us in other works. This theme is worthy of your special notice for its beauti- ful imitational structure : the middle part answering the upper in the first instance, and this order being afterwards reversed. The expected close in G is averted by a bravura passage of eight bars, followed by a syncopated passage, with a series of suspensions in the bass, leading to a close, and then a Codetta. III.] EXCEPTIONAL KEYS FOR SECOND SUBJECT. But this Sonata movement only so far deviates from the usual plan in the commencement of the second Subject, as we have considered it, being in G minor, not the true Dominant to the original key, on account of the absence of the Leading note to that key. The true Dominant is afterwards reached, however, and in that key the first part of the Movement finishes. For similar instances see Beethoven's Sonatas for Pianoforte and Violin, Op. 12, No. 2, and Op. 30, No. 3. There are other instances, however, in which the departure from the usual plan is much more decided. In three of Beethoven's Sonatas in the Major Mode, the second Subject is in the key of the Mediant. In the Sonata Op. 31, No. 1, the first Subject of which commences (Ex. 38), and is itself remarkable for its discur- (38) Allegro vivace. siveness of key, passing rapidly from G through D, F, and C, the second Subject commences in B major (Ex. 39), and then passes to B minor, with the theme itself as the bass, and in that key the first part finishes. Except in the most Til T W 1 1 C 48 LECTURES ON MUSICAL ANALYSIS. [LECT. ^=5^a : flrV^F */ transient way, there is no modulation to the Dominant throughout the Movement. Similarly, in the Sonata Op. 53, the first Subject of which commences (Ex. 40), the second Subject (Ex. 41) is in E (40) Allegro con brio. SEBEtfifflffi t . f ;- j. ?==ElT=pH^ ff j i i i -i ! i i !-- - - 1 i^TJT^f l----l -*-- -*----<[ ^-* - ' 9-9-9-9 O -Va^l^tf - ^i=i j ihr-i5 III.] SECOND SUBJECT IN THE 11EDIANT. 49 major, at the close of which a Codetta is added in E minor, in which key the first part terminates, a short modulating passage leading back to C major, the original key, for the repeat. There is no modulation to the Dominant in this Movement. The same is the case in the Sonata in B flat, Op. 106, the second Subject of which is in G major, commencing (Ex. 42), and there is no modulation to the Dominant. (42) Allegro. 8va - , 50 LECTURES ON MUSICAL ANALYSIS. [LECT. A similar instance occurs in Beethoven's Overture to Leonora, Op. 72, known as No. 3 (as well as in the other version, having the same Opus number, but known as No. 2), the key of which work is C major, the second Subject (of the Allegro) being in E major. (Ex. 43.) A very remark- 1 ? __ '_? _ gig 1 HL _ SEfd : =F=5rTTf-F , able change of key must be noticed in this Subject, effected (like those above referred to in the Sonata Op. 2, No. 2) by an enharmonic, implied, not expressed. The Bb in bar 7 would be A$ in relation to the harmony immediately preceding it, with F$ as root. The CJJ, on the other hand, would be Db in relation to that which succeeds it, the root being then Cfl, dominant to F, to which key it so beautifully proceeds, returning by a sequential progression to E major, in which key the first part closes. III.] SECOND SUBJECT IN THE SUB- MEDIANT. 51 In Beethoven's Trio in Bb for Pianoforte, Violin, and Violoncello, Op. 97, the first Subject of which, commences (44) Allegro moderate. sf &c. p dolce -P 2 3=:=: g (Ex. 44), the second Subject is in the key of the Sub- mediant, G major, commencing thus (Ex. 45) : Another instance may be referred to, that of Beethoven's Quintet for stringed instruments, Op. 29, in C major, com- mencing (Ex. 46). After this section has been repeated in (46) Allegro moderato. E 2 52 LECTURES ON MUSICAL ANALYSIS. [l.ECT. --I- --^=^=1=== &c. I varied guise, a triplet passage, of which Ex. 47 gives the last two bars and a half, has an interrupted cadence, leading (47) III.] BEETHOVEN'S QUINTET, OP. 29. 53 -v t t -x t * - - i P^"^I ^^^i i ( I I ' ; j 1 ~i 1 4- zz^fetSSfc abruptly to the key of A minor, in which key there is an imitational passage founded on the first Subject, which ultimately leads to a half-close, shortly followed by the second Sulject, commencing in A major (Ex. 48), but soon returning to A minor, in which key the first part closes. The key of the Dominant, G major, has only transient reference throughout the Movement. It is now time to speak of Movements in the Minor key, that is, with the first /Subject in that Mode. 54 LECTURES ON MUSICAL ANALYSIS. [LECT. "With regard to the first Subject of such Movements, there is nothing special to say beyond that which I have already said in speaking of Major Movements. Except, indeed, one point to which I would call your attention : namely, the purity of tonality observable in the Subjects in the Minor Mode by the great masters ; the single-minded adherence to the Tonic, without coquetting with the so-called relative major, vacillating between two Tonics. However the minor seventh of the scale may be introduced melodically, it is not used as a harmony note, unless for an avowed modu- lation, or for special chromatic effects. To impress this thought upon you, this fact, I may rather say, I cite some complete Subjects. That of Haydn's Sonata !N"o. 13, in B minor, is almost entirely built on Tonic and Dominant harmonies. And then how welcome in its simplicity is the AJj, ushering in the new key, in which, after a half-close, the second Subject enters. (Ex. 49.) (49) Allegro moderate. III.] HAYDN'S SONATA IN B MINOR. 55 f. *5~EE3E3 2nd Subject. / &c. This key, the major key of the Mediant, or, as it is commonly styled, the relative major to the original key, is 56 LECTURES ON MUSICAL ANALYSIS. [LECT. that in which the second Subject of Minor Movements is usually written, though by no means invariably, as I shall show you. Another beautiful subject, that of Haydn's Sonata No. 23, in G minor, illustrates the same point. It is free from any suggestion of Bb major, being entirely composed of the simplest harmonies of its own key. Observe the beautiful effect, so simple, of the added upper part in bar 3. (Ex. 50.) Then, in bar 6, by the most natural introduction of the (50) Moderate. 8 ^^^=gpEJESSig^^ 5t t/ ff r-fcf-HEfr -f-^ P? 4 -/j *T> L-4, , ^" r ~' H ^' -T^ 1 < tr ! :i f^=aq 3 F -^f ? j* b -*. l"" 1 -*- i r-^^ 4 -p jj j j -*v^ | ; j- -j- * *"* ^-*--a- ^jjl */ ^r '- "- -'* ^- i - ^ ^ TI H = r~ = 'tt ice. =--- 2*~ U 1 if- m.] SUBJECTS IN MINOR MOPE. Dominant 7th in Bb, that key is reached, and, after a half-close, the second Subject enters. (Ex. 51.) (51) The same feature is observable iu Haydn's Sonata No. 27, in C minor; and in No. 31, in C$ minor. (Ex. 52.) This latter, moreover, affords another example of that which I told you in the last lecture about the second Subject, in some Movements by the older masters, being partly founded (52) Moderate. 58 LECTURES ON MUSICAL ANALYSIS. [LECT. - ~* to* 7 ~*~ ~ 9 i*~ ~ - *H: < *^ IT _> >-^'L_ *^ * W '*t!?L^i.~~;~ f ~r~^-JL on the first. The Sonata before us has a short Subject entirely in the primary key, closing at bar 6 ; then a modu- lating passage, ending on the first inversion of the Dominant 7th in E, followed by the second Subject in that key. The first portion of this presents the first figure of the first Subject in a new guise, and the second portion is derived from the second and succeeding bars of that Subject. Mozart's two Sonatas in the Minor Mode have the same structure, in that the first Subject, in both cases, is entirely in the original key ; and the second Subject is in the major key of the Mediant. No. 8, in A minor, after the first Subject, commencing, Ex. 53, has a modulating passage (53) Allegro maestoso. 60 LECTURES ON MUSICAL ANALYSIS. [LECT. (54) Conclusion of modulating passage. 2nd Subject. 1 J _ P-p- _ !__!___ 1*f- m *-+***--tLt -m- .p-h -P-)- -t h -^-|~ i i~ i ~TJ ~ ! ' ! ! "^ : : l^ ^~ in -which C minor is prominent ; and the second Sulject, in C major, commencing, Ex. 54, comes with freshness. I shall have to recur to this Sonata more than once. No. 14 has a first Subject of eighteen bars, commencing, Ex. 55, entirely in C minor, followed by a modulating (55) Allegro molto. passage of four bars, derived from that Subject, leading to the second Subject in Eb, which is of considerable extent, if all in that key is to be considered as one Subject, having it may be said, three principal divisions as follows (Examples 56, 57, 58), and then the Codetta. Beethoven's Sonata in F minor, Op. 2, No. 1, is of very III.] MOVEMENTS IN THE MINOR MODE. 61 - T^- t m ^~*-m i "*- - ^=S^F=fcS^=^ ^igSi^ij :[ LE*zi!bnzi (58) x- ^s ^ ^^ <-^ - -^-*- --5-^- -*S^i b^ > k a k- *1 S^-^rF i | y< rT~t"5i J 2-'~ [ < Tl (^ " igr^^pEJ^^f^^^g^Etg iySQ-QQ* clear construction. There is no full-close to the _/irs Subject (Ex. 59) ; but after the half-close at bar 8, a modulating passage, built on the first Subject, leads to the second Subject, in Ab, which, you will observe, begins with the minor 9th (59) Allegro. ^Fff^^=pgj^=^|3^^ ?= 4^ 62 LECTURES ON MUSICAL ANALYSIS. [LECT. 3 - ; 3 on the Dominant. This, as you know from your lessons, frequently occurs in the major key, being, by some theorists, termed Chromatic when so occurring. (Ex. 60.) Beethoven's Sonata in C minor, Op. 10, No. 1, has a Subject extending over thirty bars, beginning (Ex. 61), and ending (Ex. 62) entirely in the key. After a silent bar, a transitional passage, almost as defined as a new Subject, passes through Ab, F minor, and Db, to a passage on a Bt> pedal bass, ushering in the second Subject in Eb major. (Ex. 63.; IIL] BEETHOVEN'S OP. 10, NO. l. (61) Allegro molto e con trio. ~^- *- -,,- -Ju^JtLfl-JEJE L_ U- _ m _L i l -i 63 &c. End of Subject (62) ^f-r:. ' L j _{ J 1 J _*_ r ^ti-^rf Er"" * /'!- . a - - f 1 ff. J. p r s -t p* p* 1 b b ^ r = . - i -4 C-JU Transitional passage. | |^_^ | | i ~^'~ Jg| p z^i_i i:: ~g'q*^ : : L /P &c. i (63) icmjii . izij 0_, -l& : 1- ; i I II- fc, i ^1 &c. fj=^3d=fcbg: 64 LECTURES ON MUSICAL ANALYSIS. [LECT. The lovely Sonatina in G minor, Op. 49, No. 1 (Ex. 64), after the half-dose at bar 8, proceeds to diverge to Bb major, in which key the second Subject enters, bar 16, extending over fourteen bars ; when a Codetta of four bars, founded on the second Subject, concludes the first part. (64) Andante. f=EEEEf 1 !/ I I n r r m r 1 H 1 1 1 F : ' 4- EP^^^ 33 fj> ^**** t-g-T-f-f-f-f-T-^^-^- ^Sl=? ^^"^""^ Czjz=a=^zz^= *" h ~ f fEE EE53 = BEETHOVEN'S OP. 57: FIRST SUBJECT. 2nd Subject. -fr L ,. , _ ^> UL, b ?="' '" ** T - 65 2ji^ __ ;-^- - f~ f &c. *H i i i ^ i ^H ^ah~ j^j | i r i i j i r i ' The Sonata in F minor, Op. 57, commonly called " appas- sionata" (not so termed by Beethoven), though of such (65) Allegro a-tsai. =3 : 1^=^ i \ . 3TX "" ^ 5 66 LECTURES ON MUSICAL ANALYSIS. [LECT. extended proportions, does not, in its Subject, touch on the key of Ab (Ex. 65). It seems momentarily to touch on the key of Db, in bars 7 and 8. The entry of the Subject on the harmony of Gb is considered as a Chromatic progression, not a modulation, there being no modulating chords. The chord marked * in bar 7 is an instance of false notation, perhaps for simplicity's sake. As it stands, the root is F, on which Gb is the minor 9th, and At] the major 3rd. But the resolution to the harmony of Db shows that Ab is the root of the chord, and that the Afl should be Ebb, the minor 9th to the root. The second Subject may be considered, as above explained, (66) 8va- dim. L -*-+- --- -0-- -0-- --- --- -*-- in.] BEETHOVEN'S OP. 57 : SECOND SUBJECT. 67 2nd Subject. ^ --^->_3_ __| (S =: -} === q == 4 i'^4-^--^ *rCT* i=: 4-^=g - &c. to consist of two divisions : the first, approached and com- menced (Ex. 66). The Eb in bar 1 of the extract is an inverted dominant pedal note in the key of Ab. In bar 3 occurs another instance of false notation; the EQ should be Fb, minor 9th to the dominant. The second division of the second Subject commences (Ex. 67) in Ab minor, in which key the first part of the Movement terminates. &c. F 2 LECTUEE IV. MOVEMENTS IN MINOR MODE, continued. MISTAKEN NOTION ABOUT THIS MODE. SECOND SUBJECT NOT ALWAYS IN MAJOR KEY OF THE MEDIANT. SOMETIMES IN MINOR KEY OP THE DOMINANT : IN MAJOR KEY OF SUB-MEDIANT. THE RECAPITULATION : RETURN TO ORIGINAL KEY AND FIRST SUBJECT. EXCEPTIONAL CASES FROM MOZART AND BEETHOVEN. METHODS OF RETURNING. SECOND SUBJECT IN VARIOUS KEYS IN THE RECAPITULATION. EXAMPLES FROM MOZART, MENDELSSOHN,' BENNETT, ETC. WITH ALL VARIE- TIES, ESSENTIAL FEATURES PRESERVED. 71 IV. IN the Movements in the Minor Mode which we have already considered, the second Subject has been in the Major key of the Mediant or Minor 3rd of the key, generally termed the Relative Major, as distinguished from the Tonic Major. This makes a contrast, by a certain brightness, to the Minor Mode of the first Subject. Do not, however, fall into the popular error of associating the idea of melancholy with the Minor Mode, as though the two words were almost synonyms. There is a certain sentiment about the Minor Mode which is hardly to be defined in words, any more than other things about music, but it is not necessarily melancholy. No one would think of applying this term, for instance, to the song, " ruddier than the cherry," in Handel's Acis and Galatea ; but that is in the key of G minor. On the other hand, how solemn in its expression of grief is the Dead March in " Saul," which is in C major, with only one brief modulation to the Minor Mode. Still, there is, undoubtedly, a brightness of effect in having the second Subject in the Major Mode, after the first Subject has been in the Minor. A partial exception to this more usual order occurred in Beethoven's Sonata Op. 57, in which, as I showed you, a considerable portion in Ab minor followed that in Ab major. (See Ex. 66, 67.) An exception of the reverse kind occurs in Beethoven's Sonata in C minor, Op. 13 (the pathetic), in which the 72 LECTURES ON MUSICAL ANALYSIS. [LECT. second Subject of tlie first Movement may be divided into three portions : the first commencing (Ex. 68) in Eb minor, the second (Ex. 69) and third (Ex. 70) being in Eb major. (68) Allegro molto c con brio. , ^ ^ Eh= &c. IV. BEETHOVEN S OP. 31, NO. 2. But there is another procedure in many Movements in the Minor Mode : that of having the second Subject in the Minor key of the Dominant of the original scale, not that generally spoken of as the Dominant key, there being no leading note to the original key in this Minor key. This is the plan of Beethoven's Sonata in D minor, Op. 31, No. 2, commencing (Ex. 71). (71) Largo. Allegro. Let us linger a little, however, to consider this first Subject, which is exceptional. The Largo on the first inversion of the Dominant chord might appear, to a superficial observer, to be a mere start, like the first chord of a Recitative. But it is much more than this, it does more than usher in the agitated Allegro figure. It reappears at bar 7 on another harmony, that of C major ; and, having thus alternated with that agitated portion, reappears in Allegro time, as the bass of the more regular theme, commencing at bar 21 (Ex. 72), (72) Allegro. LECTURES ON MUSICAL ANALYSIS. [LECT. &c. -, _ j=T and is reiterated, in similar form, bars 25, 29, &c. It is made much of in the second part, or development of the Movement. The passage commencing at bar 41 (Ex. 73), after the sf (73) 40 j_ r 41 half-close on the Dominant chord in A minor, being a carrying on of the agitated figure already referred to, may be considered as a poising on that bass, notwithstanding the alternating harmony of A minor, rather than as the second Sutyect, which is reached subsequently. (Ex. 74.) The first (74) &c. M J IV.] SECOND SUBJECT IK MINOR KEY OF DOMINANT. part ends in this key of A minor. The key of F major is not even transiently touched on throughout the Movement. The same structure is to be observed in the last Movement of this Sonata, which also is a Movement of continuity. It is stated by one of Beethoven's biographers that, being asked for the clue to this Sonata and the Op. 57, their "poetic basis" as it would now-a-days be termed, he replied, "Read Shakspeare's ' Tempest'" The last Movement of the Sonata in Cjjl minor, Op. 27, No. 2, absurdly called the " Moonlight," is also of the same structure, the second Subject, in both its divisions (Ex. 75, 76), or as others may very well and reasonably term them, (75) Presto agitato. 76 LECTURES ON MUSICAL ANALYSIS. [LECT. the second and third Subjects, being in G$ minor, in which key the first part ends. No portion, either of the first Subject or of the rest of the Movement, touches on the key of E major. So it is with the first Movement of Beethoven's Sonata in E minor, Op. 90. The key of G major is, indeed, transiently touched in the first Subject, but not elsewhere in the Move- ment ; the second Subject, and the remaining portion of the first part, being in B minor. This is the order of keys also in Mendelssohn's Symphony in A minor, termed the Scotch. The first Subject of the Allegro commences (Ex. 77) ; and the second Subject (Ex. 78), (77) Allegro un poco agitato. Violins beautifully superposed on the figure of that first Subject, is in E minor, and in that key the first part closes. There are similar examples in the last Movement of Beet- hoven's Sonatas Op. 2, No. 1, and Op. 57, in the first iv.] BEETHOVEN'S UNCONVENTIONALISM. HIS OP. ill. /TO\ Clar. v (78) Viol. 77 Fizz. Movement of his Sonata for pianoforte and violin, in A minor, Op. 23, &c. I cannot recall any instances of this structure in the works of Haydn or Mozart, nor, indeed, in those of any composer prior to Beethoven, who seems to have originated this departure from the conventional practice ; but not, observe, from orderly structure and arrangement of Subjects. Do not think, moreover, that departure from conventionality was the distinguishing proof or manifestation of his genius. He adhered to accepted order much more than he departed from it. In Beethoven's Sonata in C minor, Op. Ill, the first modulation in the Allegro is to Ab major, in which key there is a short theme. (Ex. 79.) Though this is not the so- called Relative. Major, but the major key of the Sub-mediant, (79) Allegro con brio ed appassionato. 78 LECTURES OX MUSICAL ANALYSIS. [LECT. the contrast of modes is still preserved. And in the instances above mentioned, in which both Subjects are in the Minor Mode, it is for the preservation of a particular sentiment. In none of these cases is there any wanton defiance of orderly principles. The slow Movement of Beethoven's Sonata in Bb, Op. 106, is in Ftt minor, commencing (Ex. 80). The second (80) Adagio sostenuto. Mi -*L_-U- - ' 3 una corda mezzo, race Subject, like that of the Movement just referred to, is in the key of the Sub-mediant, D major. (Ex. 81.) (81) In order to complete the consideration of the second Subject, especially in Movements in the Minor Mode, I must now anticipate, and tell you about the RECAPITULATION, which, you will remember, I described as the third part of a Movement of continuity. I am aware that the second part has not yet been considered ; but that will be the subject of subsequent Lectures. IV.] THE RECAPITULATION OH THIRD PART. 79 This third part of the Movement consists generally of the Recapitulation or retrospect of the matter of the first part, with such alteration or modification as is requisite to bring the Movement to a termination in the original key, instead of in the Dominant, or such other key as the first part finished in. In addition to this, a Coda is sometimes appended. Moreover, there are sometimes varieties in the mode of presentation, not resulting from the avoidance of modulation, but prompted by the fancy or scholarship of the composer. Almost invariably, the return to the original key is simul- taneous with the re-entry of the first Subject, with or without modification or embellishment. It is so in all the Sonata Movements of Haydn, Mozart, and Beethoven hitherto quoted, with two exceptions, these being No. 16 of Mozart's, and Beethoven's Op. 10, No. 2. In that by Mozart (see Ex. 9, p. 18), the return to the first Subject is in the key of F, from which C major as a Dominant is reached, and the same half-close as Ex. 10 precedes the second Subject in C instead of in G. In that by Beethoven (see Ex. 3, p. 8), the whole ten bars of the Subject reappear in D major, from which a modulation is made, with beautiful simplicity, to the original key (Ex. 82), in which the last eight bars of the Subject are then repeated, followed immediately by the second Subject in F; the few bars (see Ex. 20) which originally interposed between the two Subjects being (82) endof Subject. li 80 LECTURES OX MUSICAL ANALYSIS. [LECT. ; l^feV f^J:fe^fc_ -*f 9< i ^~ I '_ ' ~ i m omitted, the modulating bars just quoted having been of the same kind. These are exceptional cases, however ; the reappearance of the first Subject is almost always in the original key, though not unfrequently in altered guise. And frequently the method of return, after the working, is an opportunity for consummate skill to render the reappearance of the Subject a surprise, or a point of grateful repose, and to link it in continuity with the working. For this latter feature observe, as an instance, the sequence of Suspensions (in the bass), with the triplet figure from the first Subject (see Ex. 59, p. 61), with which the return is introduced in Beethoven's Sonata Op. 2, No. 1. (Ex. 83.) IV.] MODIFICATIONS IN THE RECAPITULATION. 81 Very insinuating is the return in the Sonata by Beethoven Op. 31, No. 3 (see Ex. 16, p. 22), on the harmony of F minor, to which there had been a modulation, without any indication, by Dominant harmony or otherwise, of the approach to the original key. (Ex. 84.) (84) This very prominent incident in a Movement the return to the original key and Subject will be better considered, however, in connection with the second part, the end of which is marked by this return. But that which invites our attention now is the modifi- cation of the first Subject, or of the connecting matter, or of both, in the Recapitulation, in order to the avoidance of the modulation which was effected in the first part, and the proper re-introduction of the second Subject in the Tonic (generally), instead of in the Dominant or other relative key. It is for this purpose that I anticipate the Recapitulation in this Lecture, so that we may complete our consideration of the second Subject. I can give only a few illustrations of the methods in which this may be effected. In Haydn's Sonata No. 28, after the Subject has been recapitulated without alteration of Ex. 6, instead of the original modulating passage, through F minor to the Domin- ant harmony of E? (Ex. 85), the Subject is reiterated, with modification, in Ab minor, so leading to the Dominant harmony of that original Tonic (Ex. 86), and subsequently the second Subject in the Tonic Major comes with freshness. G 82 LECTURES ON MUSICAL ANALYSIS. [LECT. (85) Allegro moderate. Eft -"""'Ni sas In Haydn's Sonata No. 23, a prolongation of the second phrase of the^/w-^ Subject (bar 3 of Ex. 50, p. 56), instead of a close in the key, introduces the second Subject in G minor, instead of in Bb major, thus presenting it in new guise. (Ex.87.) This same presentation of the second Subject in different Mode, Minor for Major, occurs in his Sonata in B minor, No. 13, quoted in Ex. 49. In Mozart's Sonata No. 8, in A minor, after the recurrence in the Recapitulation of the eight bars of the first Subject (see Ex. 53), instead of the fresh start of that Subject, IV.] EXAMPLES FROM HAYDN AND MOZART. 83 (87) followed by a diversion to C major (Ex. 88), there is introduced a passage founded on that first Subject, taken this time in the Lass, and prolonged, with slight divergence, M/ ^>N - Li *j i ^- 1 -^ rr J -f- ^-t11- &c. Q 2 84 LECTURES ON MUSICAL ANALYSIS. [LECT. in the original key of A minor (Ex. 89), in which, subse- quently, the second Subject occurs ; another instance of the change of Mode in the presentation of a Subject. &c. In Mozart's Sonata No. 14, in C minor (see Ex. 55), instead of the concise modulation to Eb (Ex. 90), the (90) Allegro molto. '+. 3 g-CFhyrgEfefaJiEfc E t=EE3 T j ^rr :pnp^=pz:pii? (Ex. 95.) In the Recapitulation it appears in C major, the return to the Minor Mode being afterwards made by a (95) -9- i.i + : - JfeJ.fr. + , J *^- -. it.] BEETHOVEN'S SYMPHONY NO. 9. 89 fine change in the Coda, and the Movement terminating in that Mode. This is also the procedure in his Symphony in the same key, No. 5. In the first Movement of the Sonata Op. 57 (see Ex. 66), this is likewise the plan. Also in the Pianoforte and Yiolin Sonata in C minor, Op. 30, No. 2. In the first Movement of his Symphony No. 9 (the Choral) in D minor (Ex. 96), the second Subject appears (96) Allegro ma non troppo. if First Subject, after Preamble. u^ Tt=E iT" ** originally in Bb major. (Ex. 97.) In the Recapitulation it (97) Clar. i^ i** 11 ""*, Oboi. -< >--* 5- ? I I t=. T~ K .^ > . a > 90 LECTURES ON MUSICAL ANALYSIS. [LECT. is taken in D major, a change of key, but not of Mode, nor, therefore, of sentiment. In Mendelssohn's Song without Words, Book 1, No. 5, in F$ minor, which is a movement of the structure now under consideration, commencing (Ex. 98), the second Subject is (98) Ajitato. in A major in the first part (Ex. 99), and in the Tonic Major in the Recapitulation. (99) , IV.] SECOND SUBJECT IX MINOR MOVEMENTS. 91 This is also the order in the first Movement of Sterndale Bennett's Sonata in F minor, Op. 13, commencing (Ex. 100), (100) Moderate espressivo. HdL/i M * the second Subject appearing first of all in Ab major (Ex. 101), and in the Recapitulation in F major. (101) CantaUle. In the last Movement of the same Sonata, in his Romance in G minor, Op. 14, No. 3, in the last Movement of his Fantasia, Op. 16, and in other works of his, the same plan is pursued. This is also Weber's method in his Sonatas in D minor, Op. 49, and E minor, Op. 70. Also Schumann's in his Sonata in G minor, Op. 22. But in the instances above quoted from Haydn's Sonatas Nos. 13 and 23, and Mozart's Sonatas Kos. 8 and 14, a new sentiment is imparted by the presentation of the second Subject in the Minor Mode in the Recapitulation. This is also the case in Haydn's Sonata in E minor, No. 33. And with Mozart this is the usual method, in all cases with 92 J&ECTURES ON MUSICAL ANALYSIS. [LECT. indescribable change of impression, and inviting attention to the harmonizing under new conditions. The first and last Movements of his Symphony in G minor, E"o. 40, are both on this plan. The Finale is especially to be quoted, on account of a modification, as well as the change of Mode in the second Subject, on its recurrence. (Ex. 102, 103.) (102) Allegro assai. .f J ^=jf=m^ -| j^j^-^ffc-j J-jjr] =*- pg J=^-4 I p =*==Z=i ?==* iv.] MOZART'S SYMPHONY IN G MINOR, ETC. 93 j . (103) =11 8=t= ^ i. j gy -- J- 4=*: >~~r d &c. JU :nt In the first Movement of Beethoven's Op. 13, that portion of the second Subject which is in Eb minor (see Ex. 68) enters in F minor in the Recapitulation, followed by C minor. 94 LECTURES ON MUSICAL ANALYSIS. [LECT. IV. In all the cases referred to above, in ^which the second Subject of a Minor Movement appears in the first instance in the Minor key of the Dominant, it appears in the Recapi- tulation in the Tonic Minor. In the first Movement of Beethoven's Sonata in A minor, for pianoforte and violin, Op. 47 (dedicated to Kreutzer), the second Subject is partly in E major and partly in E minor, and in the Recapitulation, correspondingly, is in A minor and A major. With all these varieties of method and order, however, the important essentials are observed key-relationship and contrast between the two principal Subjects. LECTURE V. THE INTRODUCTION PREFIXED TO SOME MOVEMENTS. SOMETIMES ONLY A PREFIX. IN MANY CASES ANTICIPATORY. EXAMPLES FROM BEETHOVEN, MENDELSSOHN, AND MOZART. ALLEGED GRAMMATICAL IRREGULARITIES IN THE INTRODUCTION TO MOZART'S SIXTH QUARTET. HOW TO VIEW SUCH INFRACTIONS OF RULE IN WORKS OF GENIUS. 97 Y. HAVING considered the material of which a Movement of development consists, both in its original presentation and in its recapitulatory or retrospective form, it will be con- venient, before proceeding to the development, or working out of that material, in the second part, to notice the anticipatory working which occurs, in some compositions, in the INTRODUCTION, generally in slow time, to the quicker Movement. Sometimes this is simply a prefix, without any direct connection with or bearing on the Movement which it precedes, merely ushering it in as a preamble. In other cases, however, it is anticipatory, presenting some germs of the succeeding Movement, towards which it works, and so links itself with it as an integral part. Of this latter method we have already had one brief example in the initial phrase of Beethoven's Sonata, Op. 31, ISTo. 2 (see Ex. 71), which not only is used as a bass (see Ex. 72), but reappears during the Movement, both in its original quasi Eecitative form, and also as a bass in the quick portions of the Movement. Another instance from Beethoven is in the Sonata Op. 13 (the Pathetic), which commences with a slow Introduc- tion (Ex. 104), the opening phrase of which constitutes an (104) Grave. fcfe p ^-^_^Np i H I - K - 98 LECTURES ON MUSICAL ANALYSIS. [LECT. important feature in the course of the Movement. The chord marked * would now-a-days be explained as the last inversion of the Dominant Minor 13th, Eoot G, resolving on the first inversion of Tonic harmony; or, perhaps, as a triple Sus- pension. This Introduction leads to the quick Movement, commencing (Ex. 105). The three divisions of the second (105) Allegro motto e con brio. -*- -- -&- -&- -&- -G- -&- -&- -&- -& Subject, that is to say, the three ideas in Eb, are given in Examples 68, 69, 70, p. 72. At the conclusion of the first part, this Grave recurs in G minor (Ex. 106) ; and in these four bars occurs one of (106) Grave. INTRODUCTION TO BEETHOVEN'S OP. 13. 99 Allegro the most wonderful enharmonic changes to be found in music, though by means familiar to all of you who have written exercises on the Minor 9th. The chord in Ex. 104, which I have explained, here recurs as the last inversion of the Dominant Minor 13th in G minor, Eoot D; and, in the third bar, the Minor Sth of bar 2 is changed in notation to that of the Dominant Minor 9th in E minor, Eoot B ; and this leads, most naturally, after the unexpected change has been confirmed in the fourth bar, to the resumption of the Allegro, a phrase from which is taken in E minor : very remote from the original key. This, however, is interrupted by the entry, bar 4, of the first phrase of the Introduction, but in even notes, instead of dotted. Compare bars 1, 2 with bars 8, 9, 10. After the Recapitulation, the peroration of the Movement is interrupted by yet another recurrence of the Grave, four bars of which lead to a concise abridgement of the Allegro Subject, and so to the termination of the Movement. Thus the Introduction is incorporated with the whole Movement. To the Sonata Op. Ill, of which the second Subject is H 2 100 LECTURES ON MUSICAL ANALYSIS. [LECT. quoted in Ex. 79, p. 77, there is an Introduction (Ex. 107) (107) Maestoso. ^ js j J^-j w. . t I H- r \ p =U-H- -**! -* * in which may perhaps be discerned foreshadowings of the succeeding Allegro. This passage (Ex. 108) may have the (108) germ of the phrase in Ex. 79 just referred to. Observe that in bar 3 * of Ex. 108 the Afl should be B double flat, Minor $th to Ab, proceeding to the harmony of Db. This passage (Ex. 109) also seems to be an indistinct (109) Lrf^EEZlg ^1=j=tff^^^ V I ~P~ "*" sfp sfp sfp :pa " V. INTRODUCTION TO BEETHOVEN'S OP. 81*. 101 anticipation of this in tlie Allegro. (Ex. 110.) But the Introduction does not recur. (110) Allegro con brio ed appassionato. Beethoven's Sonata, Op. 81 a , " Les Adieux, V Absence, et le Retour," opens with an Introduction commencing (Ex. Ill), & (111) Adagio. T Le - be-wohl. i ja_jn II ^^~\ 63^ fe"*~l ^ '~iT~r E^ffiE=5^iSE=^!E4=g^p -3i | i- a - - 1 ffF ^ -* i i r p espressivo &c. )', t [^-g- In** : ^ which leads into the Allegro thus (Ex. 112). The initial Lebewolil phrase reappears in this Allegro in various guises, (112) Adagio. 102 LECTURES ON MUSICAL ANALYSIS. [T.ECT. Allegro. and so does the fragmentary semiquaver passage in the last extract, which seems, in fact, like a broken and, in the highest part, inverse form of the Lebewohl: shall we say broken by the emotion of a " Farewell " ? This, as the bass, with the semiquaver figure of Ex. Ill superposed, constitute the first Subject of the Allegro. The Lebewohl phrase, with a dotted note to begin with, instead of in even notes, appears not only in the third and fourth bars of the bass of this Subject, but again in the transitional passage (Ex. 113) ; and then, in changed aspect, as the second Subject (Ex. 114) ; and then again by diminu- tion, in the imitational passage (Ex. 115), re-entering in semibreves for the repeat. As shown in the extract, second time bars lead to a presentation of the Subject in C minor, interrupted by the Lebetcohl theme ; and of alternations of these two themes, the second part is principally made up, (114) BEETHOVEN'S OP. 8l a . ^ 1?=T=&=f=p: 103 JTF~~E*~LlLllL~^~L L LjL~F~t~ f:: l I p espressivo. *- passing through C minor, G minor, Eb minor, Gb, and again through C minor to the return of the Subject in the original (115) ^ 1 * g^g^^ff^^i^] p 104 LECTURES OX MUSICAL ANALYSIS. [LECT. ?T T key. A very lengthened Coda presents the Lebewohl theme in varied aspect. Firstly, in responsive manner (Ex. 116), (116) both in single notes and in thirds ; then with a florid passage under it (Ex.. 117); then with a similar (not identical) My i 2=J I i-4=j =E*z5i^ &c. BEETHOVEN'S OP. si* AND OP. 63. 105 passage over it. Later on occurs this presentation, daringly defying theoretical justification. (Ex.118.) Then by diminu- (118) ^'ow, followed by fragmentary presentation ; and finally the theme in the bass with superposed quavers (Ex. 119), after (119) and GjJ. But, though undoubtedly somewhat startling on first hearing, there is no real false relation of (129) Adagio. = j ^= 1 j ^M-g^r===^paj __ T ._ fc wfa i l " fc *^ =f- 112 LECTURES ON MUSICAL ANALYSIS. [LECT. 1 J_JSgg3| M^ II - j L_J : _ J C"-J_ 1^ I ^. ^= : / ' ses=^- I ! ^~ri&=3=b=3=t=f^+ [LECT. &~ U U 1 h k p p * p I p passages founded on the quiet jrs Subject. In the Sonata Op. 10, No. 2, also, there is an Episode in the second party commencing (Ex. 132). ^ In this same Sonata, moreover, we have an instance of the taking of a slight fragment or figure from the first part, as a starting-point, or catch- word, so to speak, as the suggestion for a little course of changes of harmony, or rapid modu- lations, passing through several keys. Thus the three octaves with which the first part of the Sonata before us terminated, are simply taken in the harmony of A (Ex. 133), (133) VI.J SECOND PART : FIGURE WORKING. 121 vague, but sufficient to serve as dominant to D minor ; and then, on this simple figure, firstly as bass, and afterwards as upper part, is formed a triplet passage, leading to the afore- mentioned Episode, followed by a recurrence of this figure, in B flat, &c., and the return to the Subject, in D major, as mentioned in Lecture IV. This kind of procedure is adopted in Mozart's Sonata No. 16, quoted in Examples 9 and 10. The first part terminates thus, in G major. (Ex. 134.) The semiquaver figure, in (134) i G minor, opens the second part ; and, alternating with scale passages, ascending and descending, drawn from the first 122 LECTURES ON MUSICAL ANALYSIS. [LECT. part, bars 5 to 10, passing through D minor and A minor, constitutes the whole of that second part, returning to the original Subject, though not in the original key of C, but of F major. See Lecture IV. Again, in his Sonata No. 9, in D, commencing (Ex. 135), (135) Allegro con spirito. - j~~. :! *-> &c. this phrase forms part of the second Subject. (Ex. 136.) (136) -^ &c. The two slurred quavers give the suggestion for the termina- tion of the first part, thus (Ex. 137, bars 1, 2), and, upon (137) this apparently slight basis, an imitational passage is com- menced, for the opening of the second part (bars 3, 4), VI.] SECOND PART : FRAGMENT WORKING. 123 extending over sixteen bars, followed by other matter drawn from the first part. Quite exceptionally, the second Subject in the original key of the Movement occurs before the first Subject so reappears. In fact, many second parts are formed simply on -fragments of the first part, not worked in any contrapuntal, or what might seem scholastic way, but taken either in reiteration, or in alternation with one another, or merely like little reminiscences of the first part, in connection with modu- lations into some of the related keys. Modulation is one of the chief features in second parts that are at all lengthy or elaborate ; but then it must be in conjunction with other treatment of the Subjects. Mere change of key, and giving the same idea in just the same form as at first, is a very poor way of eking out the Movement, and making up for lack of constructive skill. Notice how, in Beethoven's Op. 49, No. 1, in G minor (see Ex. 64) so concise a Movement, but so beautifully turned, so gracefully rounded, and all because so tenderly felt the short second part is entirely made up of two fragments : one, the first phrase of the second Subject, the other the little termination at bars 23, 24, with a slight reminiscence of bar 14 and a diminution of bar 13. (Ex. 138.) Some second parts commence with the first Subject in the 124 LECTURES ON MUSICAL ANALYSIS. [LECT. | See bar 23. =i g- M^M=fe Diminution of bars 13, 23. * ,f , key in which the first part has terminated, and an inex- perienced listener might think that it was all to come over again in the new key. But here comes occasion for the skill of the composer to perceive when and how to break off, to diverge by an interrupted cadence, or by some other by-path. Interrupted cadences, indeed, are most important features in this continuous, but also fragmentary and modu- latory working. And, as with interrupted cadences, so with prolongation of phrases, by which cadences are deferred, or altogether averted, and modulation introduced. Thus, Haydn's Sonata in E, No. 25, commences with this Subject. (Ex. 139.) The second part opens in like manner, in the key of the Dominant. (Ex. 140.) But, by pro- longation in bar 4, the half-close in C$ minor is effected, and in that key there follows a somewhat lengthened passage. In Mozart's Sonata No. 8, in A minor, quoted in Examples 53, 54, 88, and 89, the second part opens with the original VI.] SECOND PARTS : HAYDN AND MOZART. 125 (139) Modcrato. |pfcE:zzdhzz: 3t3 --f Subject in C major (Ex. 141) ; but a diversion is effected in the fourth, bar, seemingly, according to the notation, to (141) 9- 126 LECTURES ON MUSICAL ANALYSIS. [LECT. -0- the key of F. Here, however, occurs a somewhat anomalous oscillation, for at the sixth har the Db, minor 9th to C, dominant of F, is enharmonically changed to C|, which changes the root to A, and seems to indicate a diversion to VI.] SECOND PARTS : MOZART AXD HAYDN. D minor. Instead of resolving to that harmony, however, return is immediately made to the dominant harmony in F, rendering quite nugatory and inexplicable the previous enharmonic change. And then, most beautifully, this dominant 7th in F, bar 7, is in bar 8 enharmonically changed to the augmented (German) 6th in the key of E minor, and the remainder of the second part consists mainly of working, founded on the first Subject, of this figure with Suspensions forming the last four bars of the extract, passing through the keys of E minor, A minor, D minor, &c. ; so leading back to the original key and Subject, and continuing as indicated in connection with Fig. 89. Haydn's Sonata No. 13, quoted in Ex. 49, has a second part which is instructive for its modulations in conjunction with fragmentary working. The first part having closed in D major, the second part opens with a modulation to E minor, founded on the first Subject, which is then taken in that key, but breaks off by an interrupted cadence (Ex. 142, (142) Int. Cad. I'll >^^ i r 'j- j \ ^^"*- 128 LECTURES ON MUSICAL ANALYSIS. [LECIT. bar 1), which, by a prolongation of the semiquaver figure, leads through A major to F$ minor, in which key a half- close is made. The Subject is then commenced in that key, and, by a reiteration of the figure in bar 10 of Ex. 49, a progression through C$ minor, with an enharmonic implied, not expressed (the F double sharp, bar 10, being treated as G]), the original key of B minor is reached. The short, strong second part of Mozart's Sonata in C minor, quoted in Examples 55, 56, 57, 58, 90, and 91, is founded almost entirely on the first Subject figure as given in the first two bars of Ex. 56, with a parenthesis of that portion of the second Subject which forms the succeeding VI.] MOZART S SONATA IN C MINOR : MODULATIONS. 129 four bars of the same Example. F minor and G minor are the keys passed through, leading back to the original key. The following figured bass represents the very simple suc- cession of harmonies on which this vigorous working proceeds. (Ex. 143.) EE5 T P~ _ Although I point out to you any instances of enharmonic or exceptional modulation, especially where the notation is not strictly accurate or explicit, either from motives of expediency, saving of accidentals, or the like, yet it is of by far the greater importance for you to observe the masterly manner in which the more ordinary and natural modulations are effected by these great masters whose works I am helping you to analyse. Speaking generally, the modulations in the second parts of these Movements are, however "free" the " Fantasia," natural, that is, into related, keys, allied to the original key, rather than extraneous, or into foreign keys. It is with a view of habituating you to the observance and admiration of this masterly naturalness in great music that I draw so many of my examples from the older composers, 130 LECTURES ON MUSICAL ANALYSIS. [LECT. such as Haydn and Mozart. To "Papa Haydn," as his countrymen have delighted to call him, "the father of modern instrumental music," we are indebted for the per- fecting of the very form, Sonata or Symphonic, which we have been considering : the Duplex or Binary, some have called it. In listening to his pianoforte music, however, you must not judge of it in comparison with that of more recent times. I am not speaking apologetically, as though the beauty of the old master's music could be eclipsed or outshone by the more highly-wrought, more elaborated, more brilliant, more full, sensuous, and, in one sense, effective music of the later periods. It is yourselves that you will rob if you expect these features in music of the early period, instead of looking for the essential, integral elements which constitute real musical worth, as distinguished from accessories. Kemem- ber that the instruments and the players written for by Haydn and Mozart were not our modern ones, and that pianoforte music was almost in its infancy. The very first published Sonata of Beethoven's, Op. 2, dedicated to Haydn, his master, was not produced till 1796, when Haydn was sixty-four years of age, and Mozart's Sonatas and all his other works had been composed he, alas ! having been dead five years. I cannot do you much better service than this of helping you to dissociate the sense from the sensational, and the essentials from the accidents, in music as in other arts. The arrangement, manner of writing, or setting forth of ideas for the pianoforte, as for other instruments, is fuller now than formerly ; but that does not bring more fulness of idea, of thought, of invention. Of course you will not think that I am advocating any stupid deprecation of advance in methods of presentation, in accordance with additional appli- ances, and more extended executive skill. But I am desirous that you shall not take these for more than they are worth. The value of gold does not consist in its glitter. "Fine VI.] METHODS OP WORKING SUBJECTS. 131 feathers make fine birds;" but fine arpeggios, brilliant passages, these do not make fine music. It is not the fulness of an orchestral work, or the amount of brass in it, admirable as these may be, which constitute fine instrumentation ; but, rather, the giving individuality to the separate instrumental parts, according to the character and capacity of each instru- ment. This may seem somewhat a digression, but it has much to do with the general principles on which music should be judged, the way of intelligently listening to it, and of analysing it. Thus far, however, I have said very little about the methods of working, having referred to some Movements in which there is but little, to some in which there is episodical matter introduced in the second part. I have also so far anticipated myself as to glance at a few easily understood instances of working. It is time, however, that I speak more systematically about the working of Subjects in music, which is a matter of almost boundless interest; so varied are the methods in which it may be done, and such scope does it afford for the exercise of genius, ingenuity, and scholarship. So diverse are musical Subjects in their sug- gestiveness, that only a general classification of the ways in. which they may be treated can be given, with such illustrations as may help you in listening to the works of the great masters with watchful interest and intelligent discernment. You will be prepared to hear that all the various devices, and all the theoretical knowledge, about which you are told in your class lessons, are brought into practical application in the working of Subjects. Only it must be remembered and observed that these devices have to be selected and used with discrimination, appropriately to the Subjects that have to be worked. To misuse or over-use them becomes pedantic. That nice sense of fitness is required which the K 2 132 LECTURES ON MUSICAL ANALYSIS. [LECT. Greeks expressed by their proverb, "Do nothing too much." I may so far anticipate the subject of another Lecture as to say that a FUGUE is the very concentration of working devices, and is understood to consist of continuous, almost unbroken working, though even in this form of composition it is quite possible to infringe the spirit of the Greek proverb. And, in a CANON, the working is stringent, not optional, when once the particular form of Canon is determined upon. In such compositions, fancy, imagination, genius, must mani- fest themselves within the prescribed and accepted restrictions, not in breaking through them, as is sometimes said to be, and at certain times undoubtedly is, the prerogative of genius. A Fugue writer must manifest, his genius in his Subject: that should be multum in parvo, especially when enriched by its counter-Subject, and then developed into the Exposition, which is as the egg from which the whole Fugue is to be hatched. But in the freer plans of composition, such as the Sonata Movements which we have been considering, while oppor- tunity may occur for the use of any or all of the various working devices which are closely packed in a Fugue, they are brought into requisition entirely at the fancy or judgment of the composer. In speaking of the working in the second part of a Sonata Movement, I shall inevitably touch on some of the same processes as those which appertain to Fugue structure. To enumerate, then, some of the methods of working Subjects, or presenting them in various aspects, there is, firstly, the presenting the same melody with different harmony, or the same harmony with different melody, or the same harmony and melody, either in different positions, or with such ornamentation, embellishment, and diversity as may be effected by passing notes, suspensions, and the like. Closely allied with these methods is that of presenting a Subject, or VI.] METHODS OP WORKING SUBJECTS. 133 part of it, in contrapuntal form, with contrapuntal adjunct, which, has originally appeared in simpler guise. This, again, as many of you will understand, may lead to the placing that in an inner part, or in the lowest part, which has been the highest part : technically termed inverting the parts. Here, of course, comes in the true use of double-counterpoint. And, still further, one of the principal methods is fragmentary working, such as the few instances I have given you : taking some one or more portions or figures of a Suly'ect, and working them apart from their original context, or with that context in changed order : alternating such fragments, or bringing them together, stretto fashion (see Lecture XIV). Or it may be that portions, fragments, of different Subjects, the first and the second, or figures taken from the connecting or supplementary matter, are thus al ernated or combined. The Subjects, or fragments of them, may be taken, moreover, by inverse motion, or by augmentation, or by diminution these last two terms meaning in notes of greater or less length, respectively, than in their original presentation. And the various imitational devices, fugal, canonic, or free, may be used. In fact, the second part of such a Movement as we are considering may be regarded as an argument on the theses laid down in ihe first part ; now this, now that, being most prominently urged and expounded in its various salient or strong points. Or it may be likened to a general con- versation or discussion about certain events which have taken place : the different incidents being recalled and dilated upon in various ways, according to the perceptions, memories, and impressions of different spectators, or, it may be, actors, in such supposed events. This general summary may serve to awaken your interest, and guide you as to what to look out for, when the working or development begins. Again I urge that mere transposition of any Subject to another key, without any change of presentation, is a poor 134 LECTURES ON* MUSICAL ANALYSIS. [LECT. VI. pretence, and indicates weakness. There must at least be some change of accompaniment or of rhythm in conjunction with the change of key. Bhythmical devices, such as con- traction, extension, overlapping, and other forms of what is termed broken rhythm, are among the resources for evading squareness, tameness, and monotony. Broken rhythm was a strong point with Haydn. You will be prepared now for examples of these various devices, which I will introduce and explain in the next Lecture. In the Sonata Op. 14, No. 1, of Beethoven, which I have referred to in this and in other Lectures, there is in one portion of the second Subject, both times of its presentation, an instance of consecutive fifths whether by oversight or not I cannot say. Here it is. (Ex. 144.) LECTUEE VII. SECOND PART OP MOVEMENT OF DEVELOPMENT, Continued. MANY SLOW MOVEMENTS AND FINAL MOVEMENTS OF THIS STRUCTURE. MODULATION AN IMPORTANT FEATURE, IN CON- JUNCTION WITH WORKING. MOST FREQUENTLY NATURAL, THOUGH SOMETIMES EXTRANEOUS. COMPARISON OF MODULATIONS IN MOVEMENTS IN E FLAT. SIMILAR COMPARISON IN MOVEMENTS IN G MINOR. TRUE VIEWS ABOUT RELATED KEYS, AND NATURAL AND EXTRANEOUS MODULATION. IMITATION : FUGAL, CANONIC, FREE. EXAMPLES OF IMITATIONAL WORKING FROM HAYDN, MOZART, AND BEETHOVEN. 137 VII. BEFORE entering still further upon the construction of second parts of movements of continuity, I may as well say that many slow movements of Sonatas, Symphonies, &c. are of this plan, as also are many final movements; so that our range is enlarged for the analysis which is occupying us. Moreover, the Minuet, or Scherzo, which in many cases follows, occasionally precedes, the slow movement, affords example of this same structure on a small scale, being like a compact little first movement, in order of keys and subjects. To this latter kind of movement, however, I shall recur in a future Lecture; but we may well include, in our present survey, some slow movements of continuity, and some final movements ; the slow movement generally following, with welcome repose, the first Allegro movement, and the Minuet or Scherzo, with shorter rhythms and lighter character, affording relief, after the tension of those two preceding movements. I have said that modulation, in conjunction with and as part of the development of the subjects, is of the very nature of a so-called Free Fantasia. I have also said that in by far the larger number of works by the great masters, the modulations in the second part are natural rather than extraneous. This has to do with the conaruity of thought ; extraneous modulation having somewhat of the character which, in a novel or a drama, is termed improbability, or 138 LECTURES ON MUSICAL ANALYSIS. [LECT. startling situation. Of course such incidents may occur, though lacking the verisimilitude of real life. And by no means should extraneous modulation be "tabooed" as necessarily irregular. But life may be very interesting without frequent surprises. And we must hardly take the recent adage that " nothing is certain bat the unexpected " which does not describe real life, as applicable to Art, and as justifying any notion that, in a work of Art, nothing is good, or at least original, but the unexpected. Let it again be observed and remembered that the modula- tions in a second part enter into the course of thought, are essentials of the development, and effected in conjunction with the working. It may be interesting to compare the courses of modulation in different works. Take, as examples, several movements in the key of Ei? major. First of all, Haydn's Sonata No. 29, quoted in Examples 26 and 27, after the close of the first part of the first movement, in Bb, commences the second part in C minor, very briefly ; and then passes to Ab, and, through C minor, returns to the original key. His Sonata No. 32, quoted in Examples 28, 29, and 30, commences the second part in Bb, passes through C minor, Ab, F minor, slightly touching on Db and B> minor, and returns to the original key. No. 34, dedicated to Mrs. Bartolozzi, the largest of his Sonatas, commencing (Ex. 145), has a much (145) Allegro. -& more discursive Free Fantasia; modulating through C major, VII.] HAYDN'S SONATA IN E!?, NO. 34. 139 F major (very briefly), G minor, C minor, F minor, Ab, C minor again, E major (by a sudden transition), A major, B minor, and, enharmonically, back to the original key. To this enharmonic modulation I must draw your special attention. The following phrase from the first Subject (Ex. 146), afterwards, in the first part, taken with the (146) -9- yTFivT-i** melody under the accompaniment (Ex. 147), is here also so (H7) taken and prolonged (Ex. 1 48) ; the dominant 7th in B is, by an implied enharmonic, treated as an Augmented 6th on Gb, with, as is now considered, the roots F and C, in the (148) h. tL JL JL -br^ttJc 140 LECTURES ON MUSICAL ANALYSIS. [LECT. key of Bb ; by the dominant 7th in which key it passes to the root Bb, with a 7th, dominant to Eb, the original key. Not only is there the above-named modulation, or transition, to Efl major, in the second part of this first . movement, but the succeeding Adagio, also, is in the sam'e key, unrelated to that of the first and last movements, Eb major. The first Allegro of Mozart's Symphony in Eb, No 39, modulates, in the second part, to Ab and C minor, slightly ' touching on F minor and G minor. In the last movement, which is also of the plan that we have all along been con- sidering, after the first part has, as usual, finished in the Dominant, Bb, after a bold unison passage on the dominant of C minor, the original subject is taken in Ab, followed by working through E major, E minor, C major, C minor, G minor, D minor, and back to Eb. The second part of the first movement of Beethoven's Sonata Op. 7, in this same key, Eb, modulates, after the close of the first part in the Dominant, to C minor, Ab, VII.] MODULATIONS : BEETHOVEN AND MOZART. 141 F minor, G minor, A minor, D minor, and back to Eb. The modulation from G minor to A minor is by an implied enharmonic (Ex. 149); the D$ in bar 4 being Eb in (149) i.-^-.- 5Ufi to the key quitted, root D ; the change to D& giving the root B, super-tonic of A minor. The modulations from I) minor to Eb, in this Sonata, and in the last movement of Mozart's Symphony, just noticed, are worth comparing. In the Symphony (Ex. 150) the BJJ is, by implication, (150) Allegro. 142 LECTURES ON MUSICAL ANALYSIS. [lECT. a I *y^ f^i-frf "i T - :r K r, enharmonically changed to Cb, minor 9th to the dominant of Eb. In the Sonata, the first inversion of the dominant 7th in Eb (Ex. 151), bars 3, 4, is the enharmonic of the (151) first inversion of the Augmented (German) 6th on B7, minor 6th of the scale of D minor. The first movement of Beethoven's Sonata in the same key, Op. 31, No. 3 (see Examples 16, 17, 18, 84), modulates, in the second part, through C major, F major, F minor, and then returns to Eb as shown in Ex. 84. The second part of the last movement of the same Sonata passes through Gb, B minor (by enharmonically changing Gb to FJp, C minor, C major, F minor, Ab, and then to Eb. Beethoven's Sonata Op. 81 a (see Examples 111 to 119 VII.] MODULATIONS COMPARED. 143 inclusive) modulates, in the second part of the first Allegro, through C minor (transiently), Bb minor, G minor, Eb minor, Gb, C minor (by enharmonic of Cb and Bfl), and then to the original key, but without any close in either of these keys. The second part of the last movement of the same Sonata modulates through Eb minor, Db, Gb, all very transiently, to B major, G, C, Ab, and then to Eb. This comparison of the modulations in nine movements in the same major key will suffice. Even where the modu- lations are extraneous, they are, for the most part, so naturally managed as to seem perfectly coherent, and not at all tin-natural. And it is not a little remarkable that of all these works, that by Haydn, No. 34, is at least as discursive, extraneous, non-relative, as any of them ; although it is sometimes thought that he is old-fashioned, conventional, and un-daring. We will now, in the same way, compare several movements in G minor, and again will begin with Haydn. The Sonata No. 23, of which the two Subjects of the first movement are given in Examples 50, 51 (see also Ex. 87), is note- worthy for the structure of its second part, which, beginning in C minor, with the first Subject, does not continue even for the original four bars, but is interrupted by a prolong- ation (Ex. 152), during which the Arpeggio figure from the (152) first part is added, and a diminution of the passage at bar 5, 144 LECTURES ON MUSICAL ANALYSIS. [LECT. semiquavers for quavers. This is reiterated in F minor, and, after two bars of reminiscence, the apparently unim- portant termination at bar 12 of the first part is reiterated, plaintively, for three bars, in E flat and C minor. Then the second Subject, originally in the Major Mode, is introduced in C minor, but broken off in three bars. After a pause, a somewhat contrapuntal passage (Ex. 153), built on the first (153) ., v ur _ v Subject, touching on several keys, leads back beautifully to the original key. And all this compact working is within the compass of twenty-one bars ! It might truly be termed a model second part, but that there must be equally suggestive and tractable material for working, ere it could be taken as a model. Mozart's Quintet ~No. 3, for stringed instruments, com- mences thus (Ex. 154). The first part, having had a close VII.] MODULATIONS COMPARED. (154) Allegro. 145 in Bb, has a short passage to lead back to the original key, for the repeat : then for the continuation to the second part, a reiteration of that passage, in C minor, in which key, however, there is no close, but a diversion to Ab, then to Db, Eb minor, F minor, all transiently, and back to G minor. Mozart's Symphony in the same key, No. 40 (see Examples 102, 103), is remarkable for its modulations, as well as for every other characteristic of fine music, structural and emotional. The first movement commences thus (Ex. 155) j and (155) Allegro molto. Violins. r &===* =|=r == * 5=i; f = ^- g 1? 1 r_ izj 1 the first part, closing in Bb, has, similarly to the above T 146 LECTURES OIS MUSICAL ANALYSIS. [l.ECT. mentioned Quintet, a dominant chord in G minor, for the repeat (Ex. 156). The second part opens with the con- tinuation of chords, bar 4, the G$ giving the impression of Ab, minor 9th on G, but being here, by implication, enhar- (156) .1 23 4 + JL I A 9 5 _ e 5 r l ^.r* VII.] HAYDN'S SONATA IN B MINOR. 159 consecutive 5ths, bars 4, 5. Further on this closer Imitation is taken. (Ex. 175.) Subsequently the inverse form of the (175) Subject is taken as its Counterpoint, and then that arrange- ment inverted. (Ex. 176.) Later on these forms occur. (176) (Examples 177, 178.) In these cases observe the different intervals at which the Imitations are introduced, and the slightness of the material which is so worked. When you see a Contrapuntist at play, you do not witness learned 1GO LECTURES ON MUSICAL ANALYSIS. [LECT. trifling, but cheerful, even merry learning : there is all the difference. Many such instances might be adduced from the Symphonies and other works of Haydn. The slow movement of Beethoven's Sonata Op. 22 (the first movement of which is considered in Lecture II.) invites study for the imitational structure of its second part, no leas than for the exquisite beauty of the whole, with its long- drawn melodiousness and indescribable expressiveness. The first Subject commences thus (Ex. 179), and this furnishes the material for a beautiful dialogue in the second part, (179) Adagio con molt' espressione. VII.] ADAGIO OF BEETHOVEN'S OF. 22. 1G1 giving the impression of two persons discussing or reminding one another of pleasant experiences : or, even more tenderly, assuring one another of mutual affection. But they progress while they converse : the modulation from C minor, in which the second part opens, proceeding through the Dominants of F minor, Bb, Eb, to Ab minor, Eb minor, in which a half-close is made, followed by the return to the primary key and first Subject. No full-close occurs in the second part. (Ex. 180.) In the Recapitulation, a noticeable point is that this passage in the first part, by which the modulation -I p. I I Mi i I ^^_^ 162 LECTURES ON MUSICAL ANALYSIS. [LECT. &c. ___ i DI k b -fr_E_E__E_4i fr_ t> b Ml li i !- ! t to the Dominant was effected (Ex. 181), is here (Ex. 182) (181) ^ .^ . .-v- sf deeres. D. i> i- P -* r^ -^ U U-rH -J -H -?**-t i /t |j u j r* r)f a J x J L. I j H ' D" 1 S f" In w b * T 1 &c. r )' \) il i b L i . " 1 E (182) m r l-aiii-UT i ^ _ i h JF I i 'decres. vii.] BEETHOVEN'S OP. 2, NO. 2. 'M, frJ~ I***] ( ^ - | ' ^ L i_ i * "^"l 163 i w. r^ i taken in the minor mode, and prolonged, passing through Gb, a cadence in that key, however, being interrupted, bar 4, and the second Subject then follows, with delightful freshness, in the original key of the Movement, Eb major. Beethoven's Sonata Op. 2, No. 2, after the opening quoted in Ex. 34, proceeds thus. (Ex. 183.) The first part closes in the Dominant, E major. The chord of E minor is then reiterated, and the first Subject is taken (Ex. 184) in C, an interrupted cadence leading to Ab, in which the Subject is worked. A half -close in F is reached, and then imitational working of the second figure in Ex. 183, leading through (183) . M 2 164 LECTURES ON MUSICAL ANALYSIS. V [l,ECT. (184) g X ' T * r~ : = > -^ h I |* =c-i IL * * * D minor to A minor (Ex. 185), soon followed by the return to the Subject. VII.] (185) 3 BEETHOVEN'S OP. 2, NO. 3. 7~"! i 1 -J-J-J-i! ,Jf 2- 1G5 His Sonata No. 3 of the same Opus, quoted in Examples 36, 37, has a remarkable enharmonic passage in Arpeggio, in the second part, of which this (Ex. 186) is the outline, (186) leading to the Subject in the remote key of D major. This, however, is made the Dominant to G minor, which harmony being changed to major is made the Dominant to C minor, in which this bold imitational and syncopated passage, derived from a figure in the Subject (Ex. 187), is taken, and worked (187) M 1 U w m m * M through F minor, followed by a Pedal-bass passage on G, leading to the original key and Subject. The first movement of Beethoven's Sonata Op. Ill, 166 LECTURES ON MUSICAL ANALYSIS. [LECT. quoted in Examples 107, 108, 109, 110, has an imitalional, almost fugal, passage, in the second part, the first Subject figure forming the counterpoint to its own augmentation, thus (Ex. 188). (188) Beethoven's Sonata in F minor, Op. 2, No. 1, has noticeable points of other kinds. The first Subject (Ex. 189) is in two bar-rhythm. The second Subject, beginning (189) Allegro. . ^ -v wf- 5 - *-*b iff' ' "f* ^ T(I ^gz^f^^fe^^l^ ~?^~ "jff VII.] BEETHOVEN'S OP. 2, NO. l. 167 at bar 20 (Ex. 190), in A flat minor, afterwards proceeds to the major mode. At the opening of the second part, great (190) relief is afforded by the three-bar rhythm presentation of the first Subject, in the major mode. (Ex. 191.) Then follows (191) ~ p* S -tfc :=E=t the first section of the second Subject, in B flat minor and C minor, successively ; this being then taken as the bass, a new aspect. (Ex. 192.) After this, a passage deriving its special point from Syncopation (Ex. 193), cross accent, leads, 1G3 LECTURES ON MUSICAL ANALYSIS. [LECT. VII. (192) (193) r 7[7 h 3 ^ ^ 9 T O F" i "F" T" I* 1 I ^1 ^ ! ^ I ^ I ^ i ^ I ^ m after a. passage on a dominant pedal, to a passage with sus- pensions, &c., returning to the Subject. LECTURE VIII. SECOND PART OF MOVEMENT OP DEVELOPMENT, Continued. INVERSION OF PARTS. CONTRAPUNTAL TREATMENT. EXAMPLES FROM HAYDN'S AND MOZART'S SONATAS. RHYTHMICAL DEVICES, AVERTING SQUARENESS. CHANGED CHARACTER OF A THEME BY VARIED PRESENTATION. EXAMPLE FROM BEETHOVEN'S OP. 22. DOUBLE COUNTERPOINT. EXAMPLES FROM BEETHOVEN'S OP. 28. FUGAL WORKING. BEETHOVEN'S OP. 106. POWER OF IMITA- TIONAL DEVICES. MOZART'S DUET IN F. CONCERTED CHAMBER MUSIC. EXAMPLES FROM HAYDN'S AND MOZART'S QUARTETS, MOZART'S AND BEETHOVEN'S QUINTETS, AND BEETHOVEN'S SEPTET. GENERAL RESULT OF THIS SURVEY. 171 VIII. ONE of the interesting methods of presenting musical themes in varied aspects is that of taking that which has been an upper, or the highest part, and placing it in an inner, or as the lowest part. More scope for this seems afforded in music for several voices or instruments ; though how much may be done in this way on the pianoforte alone, let the Fugues of Bach, Handel, Mozart, and Mendelssohn exemplify. And we have seen how it may be done in non-fugal works; as, for example, in Examples 33, 37, 39, 52, &c. Another example is furnished by Haydn's Sonata No. 30, of which the first Subject is given at page 6. The second Subject commences thus (Ex. 194). (194) After five bars, an unusual rhythm, this second section occurs (Ex. 195); the upper part being evidently evolved from the first Subject, and the lower figure of semiquavers being founded on the ascent of thirds which forms the left- hand part in Ex. 194; that, moreover, with its repeated 172 LECTURES ON MUSICAL ANALYSIS. [LECT. (195) notes, having its origin apparently in the repeated notes of the first Subject. Now observe that the second part opens with the first Subject as the lowest part (Ex. 196), and then the semi- (196) ^ lje&iikt=ism ^ ^^ y^[ 1_^*^_ . , , -. J.J M 9 ^ t *l -f/5:I T^ ^ 1 ^1 ' ' /\. 5"T' VIII. J CONTRAPUNTAL TREATMENT. HAYDN. 17: quaver figure of Ex. 195, bar 2, is introduced, and a modula- tion is made to B minor. This is followed by the same figure being superposed on that of the first Subject, being an inversion of the second section of the second Subject (see Ex. 195). Then comes a prolongation, by inverse movement, of the right-hand semiquaver figure in that second section, taken as the bass of a series of suspensions. After some Arpeggios, drawn from the first part, the return to the original key is effected. Another example of similar contrapuntal treatment for it is this varied turning to account of simple phrases which contrapuntal studies suggest, as you are often reminded in class may be adduced from Haydn's Sonata No. 32, already quoted in Examples 28 and 29. The first part closing with a Codetta, a fragment from that Codetta is then made the theme for contrapuntal treatment. (Ex. 197.) The last Movement of Mozart's Sonata in C, No. 1, (197) ip j h r |j8: - /~T 174 LECTURES ON MUSICAL ANALYSIS. [LECT. commences (Ex. 198). This figure is inverted and embel- (198) Allegro. &c. tJ- 2 a *** W* rri-3 lished in the second part, in conjunction with modulation, as I have told you is usual with Subject working. (Ex. 199.) (199) S=: VIII.] CONTRAPUNTAL TREATMENT. MOZART. 175 The second Subject commences (Ex. 200). This likewise is inverted in the second part. (Ex. 201.) These instances, and many like them, are undoubtedly very simple, almost self-evident, as is often thought of such cases : hardly to be termed contrapuntal working, in the sense of combining independent parts, each having an individuality. But it is contrapuntal training, which was the training in the old times, that suggests such working, engendering the mental habit of thinking of a Subject in more ways than one, and 170 LECTURES OX MUSICAL ANALYSIS. [LECT. so presenting even the simplest theme, such as even the two notes of the first Subject just quoted, in varied aspects. The rhythm of the opening of this second part (Ex. 201) is also noteworthy ; consisting, twice over, of three phrases of two bars, making a six-bar rhythm. The opening of the movement is also worthy your attention, in like manner, for its wnsquareness ; the Subject consisting of ten bars, instead of the more ordinary eight. Beethoven's Sonata Op. 22 (see Examples 21, 22, 23) has, in that first Movement, very fine presentations of ideas with varied sentiment and character. In the first part this form of passage occurs. (Ex. 202.) The Codetta of the (202) first part opens thus (Ex. 203), the quaver group being an (203) &c. Gh -0- augmentation of the Subject figure, as shown in Ex. 21, here taken as an inner part. . After the reiteration of this, the following bold, self-assertive passage occurs. (Ex. 204.) In VI. I.] BEETHOVEN S OP. 22. (204) s^te^Ef 177 *' f - ^ r T _L-I Eif 3ESEH tf if v i- r i ZZj-,_j^:^z=; 8ves. the second part, after some other working, this close imita- tional presentation of the octave passage occurs (Ex. 205), (205) the second bar being the descending conclusion of the original passage in Ex. 204, thus brought in, stretto fashion, before its time. After much reiteration of this, alternated with working of the Subject figure, and the Arpeggio figure terminating Ex. 202, with modulations, the following is a 178 LECTURES ON MUSICAL ANALYSIS. [LECT. reached (Ex. 206) ; the Arpeggio figure here being the quiet (206) accompaniment, and the octave passage appearing as the under part : but how changed ! No longer self-assertive and daring, but, in single notes, softly, subordinate, subdued, vanquished ! This is continued, in conjunction with a beautiful succession of fundamental discords, till only the last few notes of the subdued passage are reiterated (Ex. 207) ; and, the conquest being complete, the submission entire, the ascent, the rapprochement, is made, and then . (207) VII I.] BEETHOVEN'S OP. 28. 179 follows the return to the Subject. Of course this inter- pretation, aesthetical, if you like to consider it so, is that which it seems to me, individually, to bear ; and my work with you is that of structural analysis, not poetical or sesthetical interpretation. But this seems to be such a beautiful instance of the aesthetic use of structural skill, that I draw your special attention to it, for your enjoyment : just such a presentation of a musical idea in different aspects as is analogous to the changed aspects of character, in varying circumstances of real life, and under chastening influences. The first Movement of Beethoven's Sonata Op. 28 (see p. 11) has real double counterpoint, besides other interesting points of working of its beautiful subjects. The first section of ten bars is (Ex. 208). In the second part these last four bars are, so to speak, detached for separate working, with a double counterpoint drawn from a quaver passage in the first part, leading to the (208) Allegro. I r N 2 130 LECTURES ON MUSICAL ANALYSIS. [LECT. II 1 A J f~ '1 &C. F T r r r r r r f r rr i i second Subject. (Ex. 209, 210.) This is taken in G minor (209) |iU, g ^ i and D minor, and then the last ^wo bars are detached and similarly worked. (Ex. 211.) And then, again, one bar is so (211) s- fcsk ^i V.II.] BEETHOVEN'S OP. ioe. FUGAL WORKING. 181 detached and reiterated. (Ex. 212, 213.) In these cases, (212) ^ j-r 1 J-r-t (213) '4L - -'&- I I I observe that the idea is represented in its entirety before being fragmentarily worked, and thus coherence is preserved, and patchiness avoided. Of Fugal working, in the second part of a Movement, besides the instance from Beethoven's Op. Ill (Ex. 187, 188), another is furnished by his Sonata Op. 106; the first Subject commencing (Ex. 214), being in the second part fugally treated thus. (Ex. 215.) Imitational devices serve greatly to give life and point, 182 (215) LECTURES ON MUSICAL ANALYSIS. [LECT. '"F~FTTti~ _0.i.^ 1 "iri &C. and prevent flagging or tameness. Imitation in the octave, or, as in Fugue Expositions, in the fifth above or fourth below, are among the most obvious, and are often almost anticipated by an intelligent and moderately experienced listener. But the effect of imitation in unexpected intervals is often indescribably powerful, or naive. We shall see, in considering the conduct of a Fugue, the use made of such less conventional imitations for modulating purposes. In Mozart's Pianoforte-duet Sonata in F, the first Subject of the first Allegro begins thus. (Ex. 216.) Again observe the Mn-square rhythm of six bars. The following vigorous VIII.] MOZART S DUET IN F. 183 (216) Allegro di molto. -- -&- -f- *- &c. passage in the second part is imitationally constructed on the first two bars of the Subject (Ex. 217), the imitation (217) Imo. 2ndo. 184 LECTURES OX MUSICAL ANALYSIS. [LECT. being firstly in the fifth below, at the distance of two bars, then at the distance of one bar in the octave above, and so on ; the music passing through A minor, D minor, G major, C minor, B|?, and to the original Tonic. To the last Move- ment of this fine Duet I shall refer in another Lecture. In concerted music for several instruments, that is there is, obviously, more facility for contrapuntal and imitational interweaving of the parts. In proportion as this characterizes such compositions, they are described as concertante. Some Quartets for stringed instruments, by Spohr, for instance, are spoken of sometimes as Solo Quartets, the meaning being that the first violin is specially prominent, the other instru- ments doing little more than support it with harmonies. This shoto music may have been very natural for a great violinist like Spohr to write, serving somewhat the purpose of Chamber Concertos, so to speak, but lacks the solidity and interest proper to concerted music. Truly, such an opening us this of one of Haydn's Quartets (Ex. 218) is simply a (218) Allegro moderate, caniabile. "^ 1 m I !-.> "- U CL VIII.] HAYDN S QUARTET IN 1 1 185 M a a :; -?-* [-s^f-a i girrEJ^zJ- F -I M -f f -y =) ^ " n^ 1 lovely stream of melody, for the first violin, accompanied by the other instruments. But then, the prepositional semi- quaver figure (if the term may be used) is made use of, for the leggiero passage immediately following the cadence, in the Example ; and this and the Cantdbile Subject are worked in the second part in this wise. (Ex. 219.) (219) 186 LECTURES ON MUSICAL ANALYSIS. [l.ECT. The return to the Subject is thus effected. (Ex. 220.) Observe the notation here ; the BJJ in the first violin having reference to the key quitted, C minor ; the Ct> in the Viola, to the key approached, Eb. Take, again, the following opening of another Quartet by the same old master. (Ex. 221.) So far it is scarcely more (220) BE p -*^i- =3 f VIII.] HAYDN'S QUARTET IN E !?. 187 (221) Allegro. "TI P ^ -F- ' ~M^L zzp=: concertante than that in Example 218. Afterwards, how- ever, the minim theme is taken as the lower part, with florid part superposed ; and then, successively, as inner part and lowest part. (Ex. 222.) In the second part it is taken by inverse movement as the bass, answered by the first violin. (Ex. 223.) Subsequently it is taken by diminution, answered a" cross accent, with florid accompanying passage (Ex. 224) ; once more with this close responding. (Ex. 225.) This 188 LECTURES OX MUSICAL ANALYSIS. [LECT. (222) I I I I _d__d 4. =q =4zi=1= *-4 990 ^- M^S^^^J^BJL =g=i=s^^^^a^4f= E ^=f= ' &c. J. n-r (223) VIII.] HAYDN'S QUARTET IN D MINOR. 189 (224) &c. s (225) . &c. ^ - p- -= e .J ^ S3^ B->_- ~-p~ -j --- answering at cross accent is, or was, termed imitation per arsin et thesin; that which was at the down beat being answered at the up beat, and vice versa. (See my Text-book, 367.) Mozart's Quartet No. 2 commences thus (Ex. 226) ; the effect of the sustained notes in the violoncello, while the inner instruments have repeated notes, being specially 190 LECTURES ON MUSICAL ANALYSIS. [LECT. (226) Allegro moderate. * ^ :*-* sotto Toce. 1 J J J 1 r observable, as is the passing note C in the violoncello, bar 1. Observe now how this noble theme is imitationally treated in the second part, the entry being a note higher alphabetically, each successive time. (Ex. 227.) (227) "F \/ = i. r 0-^^-9 -G>- VIII.] MOZART'S QUARTET NO. 4. The last Movement of Mozart's Quartet No. 4 has this piquant Subject. (Ex. 228.) In the transitional passage, (228) Allegro assai. leading to the second Subject, this phrase occurs. (Ex. 229.) Later on, the concluding two bars of the first Subject are taken in the violoncello, with the phrase just quoted, in modified form, for the first violin, and then inverted. (Ex. 192 LECTURES ON MUSICAL ANALYSIS. [r.KCT. (229) LJ &c. 230.) In the second part this iinitational passage, de- (230) *=^r^tfc nm * / _ ** . - v ^ \ I , i -J. a j\ , via.] MOZART'S QUARTET ix Bb. 193 duced from the first Subject, occurs. (Ex. 231.) Later on, TI _ ri ! / ri new interest is imparted by this Subject being taken on a series of Suspensions, and with the first two notes in augmentation, giving a new rhythmical effect. (Ex. 232.) (232) tsj -!- -I-i 1 -JL JL JL JL The first movement of his Quartet No. 5 has this Subject o 194 LECTURES ON MUSICAL ANALYSIS. [LECT. of sixteen bars, immediately followed by imitational working successively in the seventh below, the octave below, and the ninth above. (Ex. 233.) In the second part these additional imitations occur. (Ex. 234, 235.) Moreover, the third phrase of the Subject commencing at bar 8, is imitationally worked, thus (Ex. 236), and then the last half of it thus (Ex. 237), with changed accent in the imitating part. (233) Allegro. i VIII.] MOZART'S QUARTET IN A. 195 3U5* m art ggg =1 :g:' r r sb i r r r r p ^ej=f > -- p -T - i ---- r ^ t t=t=t fe ^ JL J J. J. r r gF=F=E 2 196 LECTURES ON MUSICAL ANALYSIS. [LECT. (234) ^jE^J^Iiij^j^ - i IT = =3= I II ! -* J | * * T^g _T . I J I I I ii ii (235) viir.] MOZART'S QUARTET IN A. 1st Y. 2nd V. 197 r>Jr i T PP* Cello. L*J_A ^fefe^^^^^te^ .fl-uL ^"rr -ir- 1 _; EE Viola. Cello. 1 izzri^z:!,^,^^ ag ^ i J Mt^fcp / &c. 3i -^^^j_J_, pc (236) Hi r r f- 1 i r i * a*- * &c. r r (237) ^_ft -1-=^-- \ I** 1 I LL T-'-sr / *J r~r / Q fcJki** &C. 198 LECTURES ON MUSICAL ANALYSIS. [LECT. The second Subject of this same Movement, so rich in device, commencing in this simple manner (Ex. 238), is (238) ** T> : r r S &c. immediately afterwards presented imitationally thus. (Ex. 239.) (239) &c. - ^ -- = C- - T n r r E In his Quartet ~No. 9 the last Movement has a Subject, in itself imitational, commencing thus. (Ex. 240.) Further (240) 'rft S*T\ > > K N -^ JTJ |s '|"*n JT 1 \ 'I s K js '|^*i *"M._ ^^tesfetsfeSfe^fe^iS asKa^^^sa^^^B ^ ^UrTCr ^' J uJ^. Cj" imitations occur in the second part, this extract (Ex. 241) giving the Subject by inverse movement in the second violin, VIII.] (241) MOZART'S QUARTET NO. 9. -J 199 > ^^=pg=^=^z=:ij-li!!-> rbru^fi J3ij3iijn ^ -=r ,_f._^ 3_^__T =P - 200 LECTURES ON MUSICAL ANALYSIS. CLECT. answered successively in the first violin, in the viola by direct movement, in the violoncello by inverse movement, and so on, at different intervals, above and below, with accompany- ing thirds and in conjunction with modulation. Mozart's Quintet No. 3, quoted in Ex. 154, has a Coda in which that Subject is thus treated imitation ally. (Ex. 242.) (242) In Beethoven's Quintet, Op. 29, the Subject quoted in Ex. 46 is thus worked imitationally in the second part (Ex. 243), started by the second viola, answered a fifth above by the first viola, then a fifth above that by the second violin, and a fifth above that by the first violin. In all such chamber-music, one charm is the integrity of clear part-writing, without any adventitious or meretricious effects, to conceal any paucity of material. A Quartet should VIII.] BEETHOVEN 8 QUINTET IN C. 201 (243) Pizz. : Arco. neither be orchestral in its aim and character, nor a Solo with accompaniment, but should be, to coin a term, quartet-ish, with legitimate concertante structure and effects. And, in listening to music, it is important for you in criticizing it, 202 LECTURES ON MUSICAL ANALYSIS. [LECT. which means bringing it to judgment (for the intelligent increase of your enjoyment, not for captiousness), to bear in mind what it purports to be ; what resources, vocal or instru- mental, are available, and what the proper limits of its legitimate effects. In Beethoven's well-known Septet Op. 20, for Clarionet, Bassoon, Horn, Violin, Viola, Violoncello, and Double-bass, the last Movement begins thus. (Ex. 244.) In the second (244) Violin. part this theme is closely worked thus. (Ex. 245.) Such works as this, and Spohr's Nonet for stringed and wind instruments combined, seem midway between Chamber- music and Orchestral; having the opportunity for the con- (245) Viola. Cello. SUMMARY. UNSTUDIED EASE. 203 trasts of tone which assist to give colouring, as it is termed, a term borrowed from another art ; while having, at the same time, the delicacy which comes from single instruments, no doubling of the stringed instruments, and no instruments of percussion. It has been impossible, had it been desirable, in this survey of some of the methods of working Subjects and developing ideas, to separate them from one another. Imitation, inver- sion of parts, inverse movement, rhythmical devices, to- gether with modulation and changed harmonies, interlace one another, and combine in various, indeed multifarious, manners, to expound subjects, and produce coherence, con- tinuity, interdependence, and all this with unstudied ease. I have sought by these specimens and comments to direct your thoughts, so that you may know how to do the same sort of thing for yourselves. I have just used the term "unstudied ease." For remember, again, that the perfection of art is to conceal art ; or, as Mr. Swinburne puts it, in one of his Roundels, entitled 1 A Singing Lesson ' "FAR-FETCHED and dear-bought, as the proverb rehearses, Is good, or was held so, for ladies : but nought 111 a song can be good if the turn of the verse is Far-fetched and dear-bought. 204 LECTURES ON MUSICAL ANALYSIS. [LECT. VIII. "As the turn of a wave should it sound, and the thought Ring smooth, and as light as the spray that disperses Be the gleam of the words for the garb thereof wrought. " Let the soul in it shine through the sound as it pierces Men's hearts with possession of music unsought ; For the bounties of song are no jealous god's mercies, Far-fetched and dear-bought." * * A Century of Roundels, Ixvii. LECTUEE IX. MOVEMENT OP EPISODE. MUCH WITH REGAKD TO IT IN COMMON WITH MOVEMENT OP CONTINUITY. EPISODE DEFINED. SOMETIMES BEARS ON THE REST OF THE MOVEMENT. INSTANCES FROM BEETHOVEN'S OP. 14 AND OP. 2. MOVEMENT OF DEVELOP- MENT MAY HAVE EPISODICAL MATTER. EPISODICAL MOVEMENT MAY HAVE DEVELOPMENT. MOVEMENT WITH ONE EPISODE. EXAMPLES PROM HAYDN, MOZART, AND BEETHOVEN. RONDO : ANALOGOUS TERMS. SOME RONDOS, NOT SO TERMED. BOMB MOVEMENTS, MISNAMED RONDOS. CONCISE EXAMPLES FROM COUPERIN AND RAMEAU. EXAMPLE FROM BACH'S SECOND PARTITA. 207 IX. WE will now consider another kind of Movement than that which has hitherto engaged oar attention : the EPISODI- CAL, as distinguished from the first-movement, or Sonata form, or plan. Very much of that which I have already told you, and illustrated to you from so many fine works, applies to this different kind of Movement as well as to the Movement of continuity : in fact, applies to all structures. Suhjects, Ehythm, Harmony, Melody, Counterpoint, Imita- tion, these enter, in various degrees, into structural music generally ; and therefore it has not been a disproportionate amount of time and attention that we have ostensibly given to the one structure, seeing that the structure in question is so comprehensive and inclusive, and the consideration of it at so great a length has anticipated and prepared the way for much else, and will render unnecessary so much detailed and technical explanation with regard to works of another plan. But, after all, Musical Composition is so boundless a subject to deal with, in extent and in interest, that no number of Lectures would exhaust it. An EPISODE, as I have previously told you (Lecture VI.), is, analogously with its meaning in other cases, history, fiction, and the like, a Subject or passage not connected with the main current of the Movement, but introduced by way of contrast or relief : sometimes, moreover, made to have a bearing upon the rest of the Movement. Thus, in the 208 LECTURES ON MUSICAL ANALYSIS. [LECT. first Movement of Beethoven's Sonata Op. 14, Xo. 1 (see Ex. 13, &c., and Ex. 131, in Lect. VI.), the Episode in the second part seems like a somewhat stormy interruption to the placid flow of the Movement ; or, shall we say, an impassioned outburst, interrupting the exquisite interchange of affection which characterizes all the rest, rendering most delightful the calm, though somewhat more joyous, resump- tion of the original Subject. But there is no working of that Episode : it is purely episodical. On the other hand the last Movement of Beethoven's Sonata Op. 2, No. 1 (on the first Movement of which I have said so much in the third, fourth, and sixth Lectures), is a Movement of continuity, but has an Episode of great length in the second part. The first part, marked by great fire and motion, terminates in C minor, the Subject having been in F minor. Then the second part opens with the lovely stream of continuous melody commencing (Ex. 246), (246) Prestissimo. J> e dolce. as though trying by tender entreaty to obtain that which feverish excitement and active persistency, almost obstin- acy, had failed to win. But the activity is then resumed, and continued to the end. The first Movement of Mozart's Quartet No. 4 (of which the last Movement is referred to in Lecture VIII.) has a charming Episode, opening the second part; but it is not worked in the after-part of the Movement. Such Episodes as these, then, do not constitute the Move- ments in which they occur Episodical: they remain Move- ments of Continuity or Development. A life marked by singleness of earnest purpose may have its interruptions, IX.] MOVEMENT WITH ONE EPISODE. 209 pleasurable or otherwise, intentional or inevitable ; its pauses for reflection, its seasons of relaxation; but these do not render the life fitful, a mere series of unconnected incidents. On the other hand, an Episodical Movement may, as we shall see, have some working, or development, bringing together of Subjects, and so forth ; but that will not alter the fact of its being a Movement of Episode, rather than of continuity, or so-called Sonata form. In its simplest form, a Movement of the kind that we are beginning to consider consists of a Subject in one key, more or less complete in itself ; then another Subject, the EPISODE, in a related key, again more or less complete in itself; and then a return to the original Subject and key, with, perhaps, a Coda or Codetta. I have used the expression "more or less complete in itself," of these two Subjects, because either or both of them may close in their respective keys, being thereby rendered complete ; or they may lead into one another. If both Subject and Episode close in their respec- tive keys, the Episode becomes, in fact, a Movement within a Movement; especially if there be no connecting passages, either from Subject to Episode, or for the return. This kind of Movement, with one Episode, is about the simplest and easiest to construct that is possible ; requiring no developing or sustained power, no rhythmical devices, but only good melody, good harmony (well laid out), regular rhythm, and sense of proportion, fitness, and congruity. Moreover, it is easy to- follow, and does not tax the attention ; being therefore an acceptable relief, in a Sonata, Symphony, or the like, after a Movement of larger proportions, which has required tension of mind to listen to. And it is the structure adopted for a great proportion of single, fugitive, light (not by any means meaning bad] pieces, such as Nocturnes, Valses de Salon, &c. A Minuet and Trio, with Da Capo, is Episodical, taken as a whole; though I shall p 210 LECTURES ON MUSICAL ANALYSIS. [LECT. have more to say about this in another Lecture. And many slow Movements of Sonatas, &c. are of this plan. Haydn's Sonata No. 32, the first Movement of which is quoted in Examples 28, 29, and 197, has a slow Movement in Bb Major, commencing (Ex. 247). This modulates to F, (247) Adagio cantabilc. returns to Bfr, and closes in that key : after which, this Episode, in the Tonic Minor, commences (Ex. 248), modu- (248) lates to Db, a great relief, this change of Tonic, has a repeat and a second part, but not a return to its own Subject. A half -close is made upon the Dominant, and then the original first Subject in Bb major recurs, and, with embellishments and a Coda, the Movement is concluded. His Sonata 'No. 34, quoted in Examples 145 to 148, has a slow Movement in E. major, commencing (Ex. 249). This IX.] SLOW MOVBJIEXTS : HAYDX AND MOZART. (249) Adagio. 211 ^ &c. portion of the Movement has its modulation to the Dominant repeat, second part, return to, and close in the key. Then follows this Episode (Ex. 250) in the Tonic Minor, which (250) modulates to G major, returns to E minor, but, like the last- mentioned Movement, proceeds to a half-close, and so leads back to the original Subject. Mozart's Sonata No. 10 (see Example 130) has a slow Movement in F major (Ex. 251), with its own modulation to (251) Andante cantabile. ^ ^ T" dolce. P 2 212 LECTURES ON MUSICAL ANALYSIS. [LECT. the Dominant, &c., and close in the key. This Episode in F minor (Ex. 252) also is complete in itself, and closes in (252) its own key and mode. To this are affixed four bars, serving as Intermezzo, i. e. put in between, not, however, leading back to ike first Subject, but closing again, like a Codetta, in F minor. Then the original first portion of the Movement is recapitulated, and the Intermezzo is changed, and, so to speak, translated into F major, to serve as a Codetta to the whole Movement. The slow Movement of his Sonata No. 14 (for first Move- ment see Examples 55 to 58, 90, 91) is also Episodical. The first portion is in Eb (Ex. 253), with second part in the (253) Adagio. key of the Dominant, returning to, and closing in the original key. The Episode (Ex. 254) is in the Sub-dominant, Ab, with second part in Gb, from which it passes, through IX.] SLOW MOVEMENTS: MOZART. 213 1% (254) b 1 1 i II! P f T 1 ores. \ d j ! ! &c. I - 2 * b J- -i 4 9 f I - in: C minor, to a half -close on the Dominant of the original key, and, with modifications, the first portion is recapitulated. His Sonata No. 19, from the first Movement of which I have quoted somewhat copiously in my Text-book, pp. 178, 179, has an Episodical slow Movement in A (Ex. 255), the (255) Adagio. ^feis -^ :ViL i_-f -rr ^^M ^^ j &c. Episode being in F$ minor, and of considerable extent. 214 LECTURES ON MUSICAL ANALYSIS. [LECT. (Ex. 256.) The figure of this Episode is used, in A major, (256) ffllw* fxf r rr=+*-- &&-. &c. for the Codetta to the Movement. The Episode closes in its own key, but there is an intermediate passage of a few bars to lead back to the first Subject. Beethoven's Sonatas Op. 13, Op. 28, and Op. 79 have slow Movements of this simple Episodical structure. The slow Movement of the ' Pathetique,' Op. 13, has this Subject (Ex. 257), which, with its own second part (Ex. (257) Adagio cantabilc. J. 258), passing through F minor and Eb, then closes in its own (258) IX.] BEETHOVEN'S OP. 13 : SLOW MOVEMENT. 215 key. Then comes this Episode in the Tonic Minor (Ex. 259), specially beautiful in the contrasted characters of the (259) extreme parts, which does not close in the key, but, by a modulating passage, leads back to the first Sulyect, with Triplet accompaniment, to which is appended a Codetta. Notice, however, the wonderfully blight modulation in this Episode, which may appear to be enharmonic ; whereas the notation only is so, not the modulation. (Ex. 260.) Had (260) 216 LECTURES ON MUSICAL ANALYSIS. [LECT. the first bar of Example been written as the harmony of Gjt minor, instead of Ab minor, the connection with that which follows it would have been obvious ; and, also obviously, this would only have been enharmonic change of notation with reference to that which precedes it. Had there been no change of notation, the modulation would have been to the inconvenient key of Fb minor ! (See my Text-book, p. 167.) The slow Movement of the (so-called) Pastoral Sonata, Op. 28, has a complete Sulgect, with first and second parts (Ex. 261); and a charmingly contrasted Episode (Ex. 262), also (261) Andante. quite complete, terminating in its own Major Mode. The Subject, on its recapitulation, is greatly embellished. The Coda of the Movement is compounded, fragmentary, of both Subjects. The Subject and Episode of the slow Movement of the Sonata Op. 79 commence, respectively, thus (Ex. 263, 264) ; and there is a Codetta of (through broken rhythm) the irregular number of five bars. IX.] SIMPLE EPISODICAL MOVEMENTS. (263) Andante. 217 (264) in all these cases the Subject is complete in itself, closes in its own key, and might be a little Movement by itself. And in some of them Kozart, No. 10, and Beethoven, Op. 28 and Op. 79 the Episode is likewise complete in itself, with its own close. In the other cases, the Episode does not so close, but, by half-close or otherwise, leads back to the first Subject. There is, however, only one Episode; except perhaps the No. 14 of Mozart, which may be reckoned as having two, that which I have reckoned as the second part of the first Subject being considered as an Episode. And similarly, in Beethoven's Op. 13, the phrase beginning at Example 258 might by some be reckoned as first Episode, instead of second part of first Subject. Waiving these two cases, however, the Examples thus i'ar adduced are of simple Episodical Movements, without development : the Episodes not reappearing, except in those cases in which there is a reminiscence as Codetta. Those who term the Sonata form the Binary or Duplex 218 LECTURES ON MUSICAL ANALYSIS. [LECT. form, term this Episodical form the Trinary or Triplex form. When, however, there is more than one Episode, and there- fore at least two returns to the Subject, the Episodical Move- ment is termed a Rondo (Fr. Rondeau) the word meaning round, and designating the coming round to the Subject. The term Round, however, is applied to a particular kind of Vocal Canon, and we do not use the English word to designate the Episodical Movement that we are now consider- ing. Analogous words, such as Rondel, Roundel, Roundelay, used to designate certain forms of verse or song, with or without music, seem to refer to the same point in structure the coming round to an original phrase. Also, probably, to some round dances, or songs with dance. Waiving, however, these terms and their uses, though I shall myself "come round" to one of them presently, I have to direct your attention to the Rondo as commonly understood by musicians. The diminutives of this word are Rondino and Rondoletto, either term being applied to a Movement of this structure, when the Subjects, first Subject and Episodes, are short, rather than to a simple Episodical Movement such as those that I have already referred to. We are considering instru- mental music ; but there are Vocal Rondos : e. g. one by Mozart, with pianoforte accompaniment, " Non temer amato bene ; " one in an opera by Sir. G. A. Macfarren, &c. I will premise two things. First of all, that many Rondos are not so called; that is, the title is not prefixed. For instance, the two Polonaises or Polaccas, by Weber, are in Rondo form, but this is not specified in the title. Sterndale Bennett's Rondeau a la Polonaise expresses in its title at once the character and the structure of the Movement. The Rondo form may be allied either with a dance-measure or with any other characteristic style. A notion prevails popu- larly, and has even been expressed in printed definitions, IX.] MOVEMENTS MISNAMED RONDOS. 219 that a Rondo is a cheerful, even light composition. This is quite a mistake : the word simply designates structure, not character. We shall have illustrations of this. The second matter that I premise is that some compositions are termed Rondos which are not in Rondo form. A Move- ment of continuity by Mozart, of the clearest structure, commencing (Ex. 265), is entitled Rondo in D. Likewise a (265) Allegro. ill -* ^ posthumous Movement in Bb by him, commencing (Ex. 266), (266) Allegro. is entitled a Rondo. Both of these are misnamed Rondos. Other instances will come before us. While on this subject, however, I may as well so far anticipate as to say, that, just as some first Movements, as we have seen, have Episodical matter in them, but still remain Movements of development, so, on the other hand, as we shall see, a Rondo may have some development in it, and still be an Episodical Movement ; such development taking the place of an Episode. Among the earliest Rondeaux, expressly and rightly so styled, are some in the Suites by Francois Couperin, le grand, 220 LECTURES OX MUSICAL ANALYSIS. [LECT. as he is called, 1668-1733, Court Clavicordist to Louis XIV., and organist to the Royal Chapel. He gave very fanciful titles to his pieces, the interpretation of which is not very plain to us ; said, however, to have had reference to persons or events which had been suggestive to the composer. A Rondo entitled Soeur Monique has a Subject in F of eight bars, commencing (Ex. 267), which is repeated ; then an (267) Allegretto. Episode of six bars, commencing and ending in C (Ex. 268), (268) which might be considered a second part of the Subject, to which it then returns. Then follows an Episode of fourteen IX.] RONDOS BY COUPERIN. 221 bars, commencing (Ex. 269) in G minor, passing through D (269) minor, and then leading through C to the Subject in the original key. There is no change of accent or character thus far ; but then comes an Episode (Ex. 270) in the key of the (270) Movement, with semiquaver accompaniment, which, moreover, ends in F an unusual structure prior to the final resumption of the Subject, with which this little Rondeau terminates. Other Rondeaitx by Couperin are entitled Les Sylvains, Les Abeilles, L' Enchanter esse, La Badine, La Bandoline, Le Dodo, ou L' Amour au Berceau, which last double title may interest some of you little girls. It begins (Ex. 271) ; but we are accustomed to have a Berceuse in f time. I suppose, (271) air "^-r^ i ir~ T^ " Bz^z=E|Ea=^=E LECTURES ON MUSICAL ANALYSIS. [LECT. however, that you can sing your doll to sleep in simple time as well as in compound. Another example of about the same 'period is by Jean Phillipe Rameau, 1683 1764, eminent as clavicordist, organist, composer, and theorist. (See p. 22.) Thfe is a Tambourin, a dance accompanied by the instrument so named. It is entirely on a Tonic Pedal-bass, and does not quit the key of E minor. The Subject begins (Ex. 272, a), (272) & IX.] RONDO FROM BACH 8 SECOND PARTITA. 223 the three Episodes begin (b, c, d), and lead into the Subject in each case ; that Subject being varied in the final instance. These very simple and concise specimens may prepare you for the more elaborate compositions of later times which we shall consider. The characteristics of these by Couperin and Eameau are continuousness and congruity, rather than contrast of accent or even of key. In advance of these, in contrapuntal working, is the Rondeau (not the final Movement) from Bach's Partita ~No. 2, commencing (Ex. 273), the Subject itself being (273) slightly imitational. The first Episode (or second part of the Subject) commences in Eb (Ex. 274), and works through (274) ----- -*-\--*-m-?-+ "R- TrFmfiS &c. 3zd2==: S 224 LECTURES ON MUSICAL ANALYSIS. [LECT. F minor to a half-close in C minor, re-introducing the Subject, with counterpoint to the first bar. The next Episode, of sixteen bars, commences (Ex. 275) in C minor, (275) 3i^^^ ATP and passes through Eb, leading to a Variation of the Subject (Ex. 276), an excellent device in a Rondo. The next Episode is principally in G minor, commencing (Ex. 277). At the (277) ^^ ^=fa=*=* Bz=5 ninth bar of this Episode a most notable device is employed : the original Subject is taken as the bass, "with a semiquaver counterpoint superposed (Ex. 278) and, imitationally, the IX.] RONDO FROM BACH*S SECOND PARTITA. 225 (278) Subject, again varied, is returned to in the original key, and with this the Movement closes. With the exception of the opening of the last Episode, it is in only two parts ; but the contrapuntal integrity of those parts prevents any thought of thinness or poverty. Any attempt to " enrich " it by modern filling up would interfere with its beautiful clearness. Those who perpetrate such additions or alterations manifest their own poverty of apprehension as to the integral worth of a work of art, and are guilty of an anachronism in art. LECTURE X. RONDO, continued: SHOULD BE CONTINUOUS. FINAL MOVE- MENTS OF SONATAS, ETC., OFTEN IN THIS FORM. EXAMPLES FROM HAYDN'S SONATAS AND QUARTETS ; MOZART'S SONATAS. RONDO IN A MINOR, AND DUET IN F. Q 2 229 THE word Rondo meaning round, and being applied to a Movement in which there is more than one coming round to the Sulysct, it seems to follow that, though an Episode is defined as a Movement within a Movement, having no direct bearing on or connection with that which precedes and follows it, yet in a true Rondo the Subject should not merely succeed an interposed Episode, but should be come round to in continuity. Therefore, in my opinion, the intermediate matter, between the appearances of the first Subject, is not, in a true Rondo, Episodical, in the sense above given ; and should not be detached from it, or at both ends : it should be part of the circle, the round. There may, indeed, be just such a momentary cadence as, in a round dance, might be required for breath-taking ; or as occurs at the end of each stanza in a continuous little poem ; but it should not fail to go on : there should be, so to speak, circular impulse, if the expression may be used. This condition is fulfilled in the Rondos by Couperin, Eameau, and Bach, already quoted; but seems to be lost sight of in many so-called Rondos. In the Sonatas of Hadyn, Mozart, Dussek, Clementi, Beethoven, and many modern writers, the Rondo form is frequently adopted for the last Movement. The only one of Haydn's which is so entitled is the last Movement of ]STo. 24, commencing with a Subject of six-bar rhythm. (Ex. 279.) After this has definitely closed in the key, a transitional 230 LECTURES ON MUSICAL ANALYSIS. [LECT. (279) Presto. passage is introduced, according to the manner of a first Movement, leading to a second Subject in the' key of the Dominant, very much in the style of the first Subject. Then a few bars lead back to the first Subject, and this is followed by an Episode in C minor, commencing (Ex. 280), modulat- (280) ing to Eb, referring to some passages in the first Subject, introducing an imitational passage on one figure from it (Ex. 281), and working to a half-close in the original key, in (281) X.] RONDO FROM HAYDN 3 SONATA IN D. 231 which the first Subject then returns, followed by some of the transitional matter previously referred to, the second Subject, still in C, and a Coda. So that the Movement has more of the structure of a first Movement than its title would indicate. The Finale of No. 20 is in Rondo form. The Subject commences (Ex. 282) ; the first Episode is in D minor, with (282) Allegro assai. ~^ 1 1 N ^ ~ N w*-*^ to. modulation to F. (Ex. 283.) The first Subject then re- (283) L. H. in 8ves. appears, varied thus (Ex. 284). A second Episode appears (284) in A (Ex. 285), followed by another variation of the first (285) 232 LECTURES ON MUSICAL ANALYSIS. [LECT. Subject (Ex. 286), and then a Coda. The Subject in all (286) three cases, and both Episodes, close in their respective keys, and there is no connecting matter; but there is Rondo impulse about it. The same remarks apply to the Finale of No. 30, the first Movement of which is quoted in Example 1, page 6. In this last Movement, however, though the Subject and Episodes are self-contained, there is an intermezzo passage after the second Episode. The Finales of Nos. 5 (for first Movement see Ex. 24), 6, and 10 have been published separately as Rondos ; but they are of development structure. Their respective first Subjects are Examples 287, 288, 289. The first Movement of Nos. 6, 12, 19 (also the Finale), and 24, are in Episodical form. (287) Presto. No. 5. (288) Prestissimo. N"o. 6. X.] ROXDOS FROM HAYDN 's QUARTETS. (289) Presto. No. 10. S3 233 The Finale of Haydn's String Quartet in C, commencing (Ex. 290), is expressly termed a Rondo. The Episode is in (290) Presto. A minor (Ex. 291), and, after the return to the Subject, recurs in C minor, the Subject being worked in with it, in continuity. (291) The Finale of another of his Quartets, in D, though not termed a Rondo, is quite a " merry-go-round " for unceasing activity and jollity. Commencing with this Subject (Ex. 292), there is only one bar's cessation of semiquaver motion till the few chords preceding the final cadence ; so you may know that Weber was not the first to write a " moto con- tinuo" But the principal Episode in D minor is worthy of 234 LECTURES ON MUSICAL ANALYSIS. (292) Vivace. i i [LECT. 5 * Urs^ P re sempre stacc. t/-5ji ^ 1 //W if 1 m i 1 P""^"^^"H 1(1) -*-*- :/-* -1-^- H- n is i 61 -~1. __i- f 1 " * V-P *- &c. HSipH-j-^ i ^tf-. j 4 gj El your "special attention: the semiquaver Movement, in un- broken continuity from the preceding portion, forming a counterpoint to a new theme ; and the working, with inver- sion of Subject and Counterpoint, being fugal. (Ex. 293.) rf X.] MOZART'S RONDOS. 235 = J J J i "We get continuity, and sometimes more development, as we advance to the Rondos of Mozart's Sonatas. That of No. 3, in Bb, commencing (Ex. 294), has, after the close of the (294) Allegro. f f &c. Subject, a transitional passage, leading to a second Subject (or Episode} in the Dominant (Ex. 295), and then the (295) &^~-r} 4> u^>t return to the first Subject. An Episode in G minor, in two Sections (Ex. 296), follows, with Cadence in that key: a (296) ri * ?*5bj ^-4j^n &c. 236 LECTURES ON MUSICAL ANALYSIS. [LECT. connecting three bars leads to a resumption of the Subject. Then another Episode in El? (Ex. 297), passing through C (297) minor, leads to a half -dose in the original key, and the Subject, with the transitional matter, and second Subject (Ex. 295), still in the key ; and then one more recurrence of the Subject terminates the Movement. This is similar in structure to that of Haydn's No. 24 ; and it seems, perhaps, more natural to regard that which I have designated the second Subject as a second part of the first Subject ; in this case of Mozart's, at all events : in both cases it may be said that there is, so to speak, a complete little Movement in the original key, with transient, tributary modulation, prior to the occurrence of any Episode, properly so called. Similarly with the Rondo of his Sonata No. 7, the first Movement of which is referred to at page 19. The Rondo commences (Ex. 298), and then proceeds like a first Movement, (298) Allegretto grazwso. with second Subject (Ex. 299) and Codetta (Ex. 300). Then instead of the expected repeat, as in a first Movement, the first Subject recurs followed by an Episode in F (Ex. 301), z.] MOZART'S RONDOS. 237 (299) fee. modulating to D minor, thence to C, the original key ; not to the first Subject, however, but to some of the matter which, in the first part, had appeared in the Dominant. After this the Subject re-enters, and there is no further modulation ; a neat little Codetta, founded on the Subject, terminating the Movement. The Rondo of No. 9, the first Movement of which is quoted, Examples 135, 136, 137, is of a similar structure. So is that of No. 13, in Bb, which is noteworthy for a Cadenza, following a pause on a J, after the manner of a Concerto. The Rondo of his Sonata No. 20, in Bi?, the first Movement of which I have analyzed in my Text-book, page 211 et seq., is of similar plan, but is mainly noticeable for 238 LECTURES ON MUSICAL ANALYSIS. [LECT. its extraneous modulations. After the second Subject in F, and the return to the first Subject, an Episode in Eb appears, from which a modulation to Eg major is effected, by the series of harmonies represented by this figured bass. (Ex. 302.) In this remote key the first Subject is taken, and then (302) 6 6 5 5 4 5 4 3 4 Tj 1 T 1 -1 r~i 6 5 1 ? ft] . to-^- ~fyj i~~ ^za v-to -J T~J 1 modulation is effected through B minor to G major, in which the Subject again appears, and shortly afterwards, by this course of harmonies (Ex. 303), return is made to the original key. (303) i>6 4 2 m 4 2 The Sonata No. 11, in A, has not one Movement in Sonata form. It opens with an air with variations, is followed by a Minuet and Trio, in A and D respectively, and the Finale is the famous Rondo alia Turca, in A minor and major, in which, however, there is only one Episode, though that is of four Sections. After the repetition of the Subject, one section of that Episode is repeated in slightly changed form, and then a Coda terminates the Movement. MOZART'S RONDOS. 239 The middle Movement of his Sonata No. 6 is a Rondeau en Polonaise, with, however, only one Episode, The Finale of his Sonata No. 8, on the first Movement of which I have commented in connection with Examples 53, 54, 88, 89, 141, is a vigorous Rondo (Ex. 304), the first part (304) Presto. of which modulates through C to E minor, in which a modi- fication of the Subject is taken as the bass for a second Subject (Ex. 305), after which return is made to the original (305) key and Subject. Then follows an Episode in the Towtc major (Ex. 306) ; and a recapitulation of the first part, with modification to keep in the key, and a Coda, conclude the Movement. Thus some features of first Movement plan are here, as in some of the previous instances, associated with Rondo form. This is also the case with the magnificent Finale of the Sonata No. 14. I have commented on the first Movement, 240 LECTURES ON MUSICAL ANALYSIS. [LECT. (306) &c. ^rr--f T- in connection with Examples 55 to 58, 90, 91, 143 ; and on the slow Movement, in this Lecture. This Finale has a three- fold Subject. (Examples 307, 308, 309.) At the con- (307) Allegro asmi. r i &c. (308) (309) MOZART S SONATA IN C MINOR; RONDO. 241 elusion of this, one Dominant chord leads at once to El?, in which is the second Subject, which may be termed twofold. (Examples 310, 311.) The original Subject then recurs, (310) (311) after a few bars of modulation ; and then, instead of a close in C minor, two bars lead to Y minor, in which this Episode is given (Ex. 312), and reiterated in G minor. Then, the (312) second Subject (Ex. 310) is taken in C minor, followed by the first Subject, which is interrupted by a passage a piacere (at pleasure), being somewhat of the nature of a Recitative, a passage of soliloquy. The first Subject is then resumed, and, with matter from the first part, and a Coda, the Movement finishes. There is nothing in it of the 242 LECTURES ON MUSICAL ANALYSIS. [LECT. disjointedness which sometimes marks a Rondo, although there are many rests and pauses, which are of great power. The Rondo of the Sonata Ko. 15, on the first Movement of which I have made many remarks in Lecture VII. , is specially to be noticed for the contrast between the various Subjects. The sweet simplicity of the first Subject (Ex. 313) is quite childlike, without any puerility however. It (313) Allegretto. -$' i -V. 4J i A ^J. J ... 1 I s i - /tVb f? t: . 1 ,|fi* r-*, -4 w~ - t f- ~3~ V 1 \ ~ 1 pF? i ' &c. is of considerable length, with modulation to the Dominant, and recurrence to the original key. Just as it closes, and one is beginning to ask, "Is it all to be so simple?" this bold Episode in D minor (Ex. 314) suddenly breaks in. At its (314) close is a quiet appendix in B{? (Ex. 315), followed by a return to the Subject, which is given briefly. Then follows MOZART'S SONATA IN F : RONDO. 243 this smooth, imitational Episode in F minor (Ex. 316), (316) c* g- E -^tj- S^ 22: 3S33 F m/ &c. i ^5 =M=: wr modulating to Ab, with a second part modulating through Bb minor, and returning to the Subject of this Episode in the bass, the imitational parts being inverted. (Ex. 317.) (317) The original Subject is soon resumed, and some of the first part recapitulated. Then comes the Coda, commencing with this fine piling up of the parts, with the figure, though not the precise intervals, of the Subject. (Ex. 318.) Towards the close, the Subject, with modification, has a Counterpoint added (Ex. 319), and a few bars close this Movement of such varied interest, unity, and contrast. R 2 244 LECTURES ON MUSICAL ANALYSIS. [LECT. (318) r T~ = r - -9- m -fej-l'r-_-^-_p_-| .P._ .d. J. V 1==1 J!= -P- I=3C=fc r r r *.] MOZART'S SONATA IN D : RONDO. 245 (319) pffl^JXjft^^ I have commented on the Episodical slow Movement of No. 1 9. The Finale is in Rondo form ; the Episodical portion following the first recurrence of the Subject being, however, somewhat of the nature of development, passing through several keys. Such a Movement as this may almost be said to be like a first Movement, with the repetition of the Subject interpolated between the first and second parts. I must not pass over this Movement, however, without calling your attention to the way in which the first Subject (Ex. 320) is made the basis of the second Subject (Ex. 321), and (320) Allegretto. ji I i i r^ i H -n n > i (321) then worked by inverse imitation, thus (Ex. 322), and in the second part by direct imitation. (Ex. 323.) One of the most perfect even of Mozart's perfect works is 246 LECTURES ON MUSICAL ANALYSIS. [LECT. (322) ^- 1=^^ ' -TJ mf * T"5 *^^* ^^*. iv M^H i^te. 1 n ^^ . i I ^| rs ,- >i (323) >j a a 1 ~v 1 ^^n -^-\-F- - >t - A . -- m m *1t " I ^T ^^ *-| \V-'X T^ ~ 1 ^-* " T _^x n^J ^ / &C. M02ART8 RONDO IN A MINOR. 247 the Rondo in* A minor : music not for show or sensation, but for thoughtful enjoyment in your own quiet room. It opens with a remarkable Subject on a Tonic-pedal (Ex. 324) (324) Andante. which, after a close at the eighth bar, has its own second part in C (Ex. 325), returning to the first phrase, and ending in the original key : it is complete in itself. (325) &c. Then follows an Episode in F (Ex. 326), of a singing character, and in excellent contrast to the Subject. This modulates to and closes its first part in C ; and then the second part passes through G minor, F minor, Db, and 243 LECTURES ON MUSICAL ANALYSIS. [LECT. (326) ^. n^. ^rr^p^TT^^^g ^F returns to F major, in which there is a close, immediately succeeded by a long connecting passage, leading back to the original first Subject, of which only the first eight bars are taken. The next Episode is in the Tonic major (Ex. 327), with modulation to the Dominant, second part, and return to its own theme, closing in the key ; and then, as after the first Episode, a long connecting passage, leading back again to the first Subject : this connecting passage, moreover, being also, paradoxical as it might seem, a dissociating passage, to change the current of thought from the Tonic A and its immediate surroundings : the return to it, in the minor mode, being then a true return home. After the Subject has been repeated, with embellishment, and some little appended matter, a most remarkable Coda follows. The Subject enters at the different half of the bar from that in which it first appeared, and in the middle of a contrapuntal passage, giving X.] MOZART'S RONDO IN A MINOR. 249 changed harmonies to the Subject. (Ex. 328.) The Subject (328) UpE=*E355pEz=tE* fK is then taken as the bass of a similar, not identical passage. (Ex. 329.) A reminiscence of the second Episode follows, (329) -*- -mf u *.-- h- r ^Z^_ l__L_ta_ leading to a Tonic pedal, on which, a final reference to the Subject is made (Ex. 330) and the noble Movement closes. An unvitiated taste must be brought to such music as this, to appreciate and enjoy it. There is also a Rondo in F by Mozart, originally composed for a musical-box, or clock, which is quite worthy your analysis. 250 LECTURES ON MUSICAL ANALYSIS. [LECT. (330) r F- -31 &c. I referred, in Lecture VIII., p. 182, to Mozart's Pianoforte Duet Sonata in F. The final Rondo (not so termed) is of great power. The Subject is of remarkable rhythm : two phrases of five bars each. (Ex. 331.) At the return, this is (331) Allegro. d&: F f * i i *? V tc. X.] MOZART'S DUET iy F: RONDO. 251 prolonged imitationally, thus (Ex. 332) ; and, later on, thus (Ex. 333). (332) w-*^ m u uu H i BcrH i i * a i r^^f^-^ = TT^ &c. -p =- (333) u^i 252 LECTURES ON MUSICAL ANALYSIS. [LECT. X onifc^: H I- "I j I _L^JJiT7]7 ~t ^7 -F^f jfe *- &c. LECTUEE XL RONDO FORM, continued. GRADUAL EXTENSION OF THE RONDO, FROM COUPERIN AND RAMEAU, BACH, HAYDN, MOZART. PARTIAL ADOPTION OF FIRST MOVEMENT FORM IN CONJUNCTION WITH RONDO STRUCTURE. INSTANCES IN BEETHOVEN'S SONATAS. THE IDEAL OF A RONDO: ROUNDNESS. ILLUSTRATION AND DEFINITION IN ROUNDEL BY MR. SWINBURNE. EXAMPLE FROM DUSSEK's OP. 35. DUSSEK CHARACTERIZED. RONDOS BY BEETHOVEN : OP. 7 ; OP. 2, NO. 2 ; OP. 28 ; OP. 31, NO. 1 ; OP. 51, NO. 2. REMARKS ABOUT RONDOS BY WEBER, HERZ, MENDELSSOHN, BENNETT: SOME OF THEM NOT JUSTIFYING THEIR TITLES. EPISODICAL MOVEMENT BY THE LECTURER REFERRED TO. GENERAL REQUIREMENTS IN STRUCTURE. 255 XT. IN the Rondos which we first of all examined, the episodical portions hardly assumed the character of fresh Subjects : they were rather continuations of the Subject, with its general character and accent. In Bach (Examples 273 278) there was some advance upon this structure : more change, both of key and accent, but still, continuity. In some of Haydn's Rondos, the Episodes are still more distinctly detached, by cadences; but in others the continuity is maintained, and the first part is of first Movement form ; the second Episode being somewhat of the nature of development. This structure, again, we saw further exemplified in some of Mozart's Rondos ; though in others, both by Haydn and Mozart, the second Episode is purely episodical, being new material. This first movement structure for the first part of a Rondo is adopted by Beethoven in several of his Sonata Finales: e.g. Op. 2, No. 3, Op. 13, Op. 31, No. 1. That is to say, there is transitional, connecting matter, leading in continuity from the first Subject to the second, which second Subject, therefore, is not episodical. But, whether second Subject, in continuity, or episodical Subject, or Episode of development, they all come round to the first Subject. So that the first complete idea in a Rondo is both Subject and Refrain, starting-point and goal : I might almost say, Nominative and Accusative. At least this seems to me the ideal of a Rondo : the Subject holding an analogous position to the words " Far- fetched and dear-bought," in the Roundel " A Singing Lesson," which I made free to quote at the end of Lecture VIII. Or, 256 LECTURES ON MUSICAL ANALYSIS. [LECT. if possible, even more appositely, according to the beautifully combined definition and example furnished by the Roundel LXIII. of the same series : "A BOUNDEL is wrought as a ring or a starbright sphere, With craft of delight and with cunning of sound unsought, That the heart of the hearer may smile if to pleasure his ear A roundel is wrought. Its jewel of music is carven of all or of aught Love, laughter, or mourning, remembrance of rapture or fear That fancy may fashion to hang in the ear of thought. As a bird's quick song runs round, and the hearts in us hear Pause answer to pause, and again the same strain caught, So moves the device whence, round as a pearl or a tear, A roundel is wrought." This exquisite instance of a definition being itself the thing defined may indeed indicate the nature of spontaneous music of any kind ; but it is specially applicable to a genuine Rondo, which should be " wrought as a ring," in which is no break to the roundness: it needs "craft" workmanship "of delight," " that the heart of the hearer may smile ; " there being a peculiar " pleasure " in the return to the Subject, if effected with naivete, with "cunning of sound unsought." However much " pause " may " answer to pause " at each Episode, yet if there be " again the same strain caught," "round as a pearl or a tear," so a "Rondo is wrought." But there needs, for this finished roundness, not only skill in working round, but a certain adaptability in the Subject itself, to be either moving, starting impulse, or result ; like the phrase "a roundel is wrought." A very happy example of this is furnished by the Rondo of Dussek's Sonata Op. 35, No. 2, of which the melodious Subject (Ex. 334), commencing with the Dominant 7th, makes, in its first phrase, a beautifully satisfactory termin- ation, wherever it recurs after episodical matter. XL] DUSSEK'S RONDOS. (334) Molto Allegro con Espressione. 257 J J In a greater or less degree, the same characteristic is to he noted in other Rondos hy Dussek : such as that to the " Farewell " Sonata, previously alluded to (Lecture V.), the " Elegy " Sonata, " L? Invocation " Sonata, and others. The well-known piece by him entitled " La Consolation " is in episodical form, hut the two Episodes in the Tonic minor and the Sub-dominant major do not lead into or round to the Subject, being complete in themselves, with their own cadences : the second Episode, however, having an appendix, with a transitional passage, to modulate back to the original key. Some editions of this piece are provokingly without its beautiful Introduction. A Movement of somewhat similar construction, and of varied interest and beauty, is the Andante in Bi> in Dussek's Sonata in Eb, Op. 75. In Dussek's Sonatas and Concertos, which are of very unequal merit, you will find many beauties, real emanations of genius, inspira- tions ; but with, however, not only some grammatical faults, 258 LECTURES ON MUSICAL ANALYSIS. [LECT. but also faults of structure, such as modulating into the original key in the course of the development, &c., and not unfrequent monotony. This is what I meant by speaking of him in the first Lecture as a genius but not a master. But by all means enjoy the exuberance of his sentiment, the richness of beautiful melody : " a prodigal," I think Mendels- sohn called him. Beethoven, in some of his Rondos, has furnished specially beautiful examples of this rounded structure, resulting so much from the nature of the Subject, the manner of its commencement : most of all, perhaps, in that of his Sonata Op. 7, the first Movement of which is quoted, Ex. 149. This Rondo, commencing so insinuatingly, with Dominant 7th harmony (Ex. 335), is singularly felicitous, even for (335) Poco Allegretto e grazioso. *N -MfffgfrHWf^-E- M- Beethoven, in the resumption of the Subject; but this felicity is only to be observed in listening to the whole Movement : no mere quotation of the returning point, the meeting-place of Episode and Subject, can impress you adequately. There is a second Subject, after the manner of a first Movement (Ex. 336), in the key of the Dominant ; and when this closes, a " poising " passage on that Dominant harmony (Ex. 337) leads to the F as a little climax, and so the Subject is resumed. Instead of the whole of it being XL] RONDO OF BEETHOVEN'S OP. 7. (336) 259 &c. -N V'f to * (837) &c. repeated, however, it is interrupted on the Dominant (Ex. 338), and, by a simple change to Bfl, C minor is reached, (338) ^^ ^~f~*~T~p m "irpifcj, i a*9^53-fc!a(** f-?**^-*^^-*^ **** 1 ^-=3 ,.^= r rr v ^^ -^-T- ff &c. 1 for a stormy Episode, in marked contrast to the tenderness S 2 260 LECTURES ON MUSICAL ANALYSIS. [LECT. of the first Subject. This Episode closes in its own key, and then is projected or prolonged into another " poising " passage, the Bfl of C minor being, by implied enharmonic, treated as Cb, Minor 9th, to the Dominant of Eb ; and so the return is again made to the original Subject. The second Subject (see Ex. 336) is then taken in this same key, as in a first Movement. The first Subject is once more taken ; and then an arrest made, after the manner of that by which C minor was reached in Ex. 338 ; but this time, by another implied enharmonic, the Bb being treated as AJJ, leading to B3, the very remarkable brief transition is made to the key of Eft, in which the first phrase of the Subject is taken. (Ex. 339.) By yet another implied enharmonic, Btj (339) being treated as Cb (Ex. 340), the return is made, and an exquisite Coda, with demi-semiyiaver movement, like the XI.] BEETHOVEN'S RONDOS. 261 (340) -'I i ! i-^FE C minor Episode, most joyously placid, however, not stormy, brings the Movement to a conclusion. The 7th bar of the second part of the C minor Episode appears thus in most copies (Ex. 341), the last group being unlike the corresponding bars in its figure ; for Beethoven's then available compass was only up to F. It is no liberty to take with the composer's work, but the carrying out of his manifest intention, to begin that last group with G ; and the most reverent editor might direct it to be so engraved. The returns to the Subject are also particularly happy in the Rondos of his Sonatas Op. 22, Op. 26, and others which you can discover for your own enjoyment. That of Op. 22 is also noticeable for the embellishments and varied aspects of the Subject, on its different appearances. (See my Text- book, page 214.) In the Rondo of his Op. 2, Uo. 2, another instance of implied enharmonic modulation occurs. (The first Move- ment is referred to in Lecture III.) In bar 2, the first CjJ! is treated as Dfr, Minor 9th to the Dominant of F|J. (Ex. 262 LECTURES ON MUSICAL ANALYSIS. [r.ECT. 342.) In the return to A major, through B minor, the enharmonic !>{?, A$ is expressed. (Ex. 343.) (342) Grazioso. (343) In the Rondo of Op. 28 (for other Movements see Lectures VIII. and IX.) a very interesting Contrapuntal Episode claims j r our attention. The Theme is Imitational in three parts (Ex. 344.) The highest part is then taken, (344) Allegro ma non troppo. with changed pitch, as the middle part (Ex. 345) ; then as BEETHOVEN'S OP. 28 : EONDO. 263 (345) the lowest part, with changed, but still mutually imitational upper parts (Ex. 346) ; then in the Minor mode, as the highest part, with added 3rds, &c. (Ex. 347.) (846) (347) This closely knit, but not at all pedantic Episode, with the rhythmical impulse kept up, is in capital contrast with the gaiety of the rest of the Movement. The motivo, more- over, may be considered as drawn from the Subject inversely : 264 LECTURES ON MUSICAL ANALYSIS. [LECT. the bracketed notes of Ex. 348, -which, again, are presented (348) in, as it seems, carillon character, i. e. like a set of bells. (Ex. 349.) (349) &c. His Op. 31, No. 1, has two Rondos, the Adagio grazioso and the Finale, which latter is expressly termed Rondo, and is worthy of much attention, both for the beauty of its ideas and for its roundness of structure. (The first Movement has been commented on in Lecture III.) The Subject (Ex. 350), specially adapted for the return, is taken in the left- (350) Allegretto. felH--*-' hand, with triplets superposed. (Ex. 351.) The second division of the Subject has a beautiful counter-theme in (as we may term it) the Tenor (Ex. 352); afterwards, with modification, the two themes are inverted. (Ex. 353.) In the second part of the Movement, after the first return to the XL] BEETHOVEN'S OP. 31, NO. i : BOXDO. 265 (351) 3 3 ft (352) &c. - p_ (353) Subject, the Episode is of the nature of development. The Subject is answered canonically, though the Canon is not continued strictly. (Ex. 354.) The theme quoted in Ex. 352 is taken, on a Dominant pedal, as the commencement of (354) i 'i l i &c. 266 LECTURES ON MUSICAL ANALYSIS. [LECT. a lengthened Coda, and a contrapuntal part added. (Ex. 355.) (355) These are a few of the interesting points in this joyous Rondo. My object in all these talks is to lead you to observe, think, and analyse for yourselves : not to draw up a series of analytical programmes, or a set of complete analyses. You will find abundant material in the Rondos by Beethoven that I have not referred to, as well as in those that I have only partly analysed. I may just refer to one of the two Rondos, Op. 51 (not in the Sonatas). lu>. 2> in G (Ex. 356), has an Episode in a different time from the &c. rest of the Rondo, as well as in the key of E major, an unusual key, with regard to its relationship with the original key. (Ex. 357.) The other portion of the Rondo is very (357) Allegretto. XI.] RONDOS BY WEBER, MENDELSSOHN, ETC. 267 much like a first Movement in its general structure : there being a second Subject in the Dominant, afterwards appearing in the original Tonic. The Finale of Beethoven's String Trio, Op. 9, No. 2, is a Hondo, the second Episode being of the nature of development of the previous material : there being, in the whole Move- ment, little departure from first Movement structure, but with the first Subject reappearing prior to that second Episode. The Finales of his Sestet for two horns and stringed instruments, Op. 81, his Quintet in Eb for stringed instru- ments, Op. 4, and various other chamber works, are also of Rondo form. You will readily understand how such " running passage " Subjects as that of the last Movement of Weber's Sonata Op. 24, known as " II Moto continuo" and the " Perpetuum Mobile " of Herz, and the similarly named (posthumous) piece by Mendelssohn, lend themselves readily to the structure that we have been considering; the return being so easily effected. The charming little piece by Mendelssohn, Op. 16, known as the " Rivulet " or " Streamlet," is hardly a Rondino : there being only one return to the Subject, just as a first Movement has. This is also the case with Sterndale Bennett's Rondo Piacevole, Op. 25, and previously-mentioned Rondeau a la Polonaise, Op. 37. Their structure is that of a first Movement without a second part, or development. The first Subject reappears immediately (or nearly so) after the conclusion of the first part ; the second Subject reappears, in the key of the Tonic, just as in a first Movement ; and there is no further return (Rondo-vfiso) to the first Subject, to differentiate the pieces from first Movements. Of course this seeming misnaming of such pieces has nothing to do with their beauty. I would not so much as mention the matter if I thought it would lessen your interest in or enjoyment of them. 268 LECTURES ON MUSICAL ANALYSIS. [LECT. Moreover, an episodical Movement may be excellent music, as in the case of Dussek's "La Consolation" and other Movements to which I have referred, and yet not have the continuity, or rounded return, which seem to me to be suggested by the term Rondo. Were I to urge to the con- trary, I should condemn myself : my own " Allegretto alia Marcia" consisting of a Subject in E (Ex. 358), an Episode (358) in A (Ex. 359), another Episode in C (Ex. 360), both (359) Episodes terminating in their respective keys, with short Intermezzi to lead back to the Subject, and then a Coda. Mendelssohn's Wedding March and Athalie March are of similar episodical structure. Each of the recognized plans of Movement structure has its beauties and adaptabilities, and one may partly coalesce with the other. The one requirement in a work of Art, that XI.] ESSENTIALS IX ANY MOVEMENT. (360) 269 appertains to our present discussion, is that it shall have design: that it shall not be random work, nor piece-work, nor " patchy," but complete and coherent. LECTUEE XII. THE CODA AND CODETTA. DEFINITION AND APPLICATION. SOME- TIMES AN AFFIX, FOR CONFIRMATION OF THE KEY. EXTENSION OF PLAQAL CADENCE. SOMETIMES A REMINISCENCE. SOMETIMES OCCURRING AT THE END OF THE FIRST PART. SOMETIMES FRESH WORKING SUGGESTED OR CONDENSED. CODA SOMETIMES AN EXTENSION OF PREVIOUS CODETTA. FINALE TO MOZART'S JUPITEE SYMPHONY. SOMETIMES ENTIRELY FRESH MATERIAL. 273 XII. I HAVE several times alluded to the Coda of a Movement. What is a Coda 1 The word means a tail, or tail-piece : from the Latin. It has, therefore, been applied as a musical term to a portion of a Movement added after that -which seems to be the termination. But it is not always merely an extension, an addition, an appendix : not merely ornamental, but often rhetorical, structural, or logical. It may, indeed, simply give finish more complete and decisive than the cadence or close by itself would do. But it is not a superfluity, or excrescence. Sometimes, indeed, it is so short as to be termed only a Codetta, i. e. a little tail-piece. It serves, then, to avert abruptness, or indecision, by lingering on the Tonic, or other key-indicating harmonies. Even the Plagal Cadence, after the Perfect, or full-close, may be regarded as a Codetta for confirmation. Still more, such a little passage as occurs on a Tonic-Pedal Bass, after the cadence of the slow Move- ment of Haydn's Sonata No. 34 (see Examples 249, 250). In this there is a momentary modulation suggested to the key of the Sub-dominant, which is, as it were, an extension of the idea of the Plagal Cadence ; but it is here followed by the Dominant harmony, as though for yet further con- firmation of the original key, in contradiction to the suggested modulation. (Ex. 361.) This suggestion of the Sub-dominant key, especially, as in this instance, upon a Tonic-Pedal, is a frequent incident in a Coda; the Pedal-point itself being confirmatory. (See T 274 LECTURES ON MUSICAL ANALYSIS. [LECT. my Text-book, 396.) Of this kind of Coda, instances abound in Bach's Preludes and Fugues, &c. The last six "bars of the slow Movement of Beethoven's Sonata Op. 31, No. 2 (Ex. 362), constitute a Coda in which the Plagal Cadence is extended, and then followed by Dominant and Tonic harmonies, all on a Tonic-Pedal. The Coda (expressly so termed) to the Minuet of his Sonata No. 3, of the same (362) Adagio. Perfect Coda. Cadence. _A. A l^"""""* 3 irj I -I ff- n tr.-*- T^ a * ^ wi I I Lt ^ -L-V^-K'- ^^-L * ^-* /tr ' xii.] BEETHOVEN'S OP. 31, NO. 3 : MINUET. 275 -^ i " t 3 \ ~. opus (Ex. 363), is also an extended Plagal Cadence, founded (363) Moderate e grazioso. decres. ca ^^g^^^g^l^^g^^jz:^^ -- j !*-*-* do. ff on the opening of the second part of the Minuet. (Ex. 364.) (364) T I ! i ! "^ T 2 276 LECTURES ON MUSICAL ANALYSIS. [LECT. Sometimes the Codetta is less of the nature of a con- firmation more of that of a reminiscence, or " last fond look" at the Subject, or some phrase in the Movement. Thus, the slow Movement of Mozart's Sonata No. 5 com- mences (Ex. 365). The Codetta consists of a presentation (365) Andante. & of this theme with different harmony. (Ex. 366.) Again, (366) in the Codetta to the Rondo of his Sonata No. 7 (see Example 298, &c.), the reminiscence is combined with the Plagal Cadence, and slight prolongation on a Tonic-Pedal. (Ex. 367.) The Coda to the Rondo of Beethoven's Sonata Op. 7, referred to in the last lecture, takes the figure of the principal Episode, and invests it with new charm in the Major Mode, though without special working. Just such a lingering, drawing out of a previous figure, is to be observed in the XII.] CODA LIKE A FAREWELL. (367) Allegretto grazioso. 277 ; LJ ;. j -t-0- uitil..i_| i . r>o I ' I 4- H-J i--*-i T~JTT -^0-^-0 0--^-0- i --^-0 >-0J 1-9 ' i * m * '- L 0-1 * I " -N - I -- -0-\ ; b- to the first Movement of his Sonata Op. 14, "No. 2. Such Codas are not mere a<7s, they are rather like " more last words," a lingering farewell : as Eyron says ' ' Farewell ! a word that must be, and hath been : A sound which makes us linger ; yet farewell." Another such instance is at the end of the slow Movement in F of Mozart's Sonata No. 10 in C, which is of the nature of a reminiscence in the Major Mode, of the theme of the Episode, which was in the Minor Mode; a readjustment, moreover, of the Codetta, which was at the end of that Episode. (See page 212.) 278 LECTURES ON MUSICAL ANALYSIS. [l.ECT. See also the Coda, expressly so termed, to the Rondo alia Turca of Mozart's Sonata No. 1 1 ; the last eight bars of both parts of the first Movement of his Sonata No. 1 2 in F ; also the slow Movement in Bb of the same. In fact, many first parts, and many Movements, after the cadence which would terminate the portion or the Movement, have a Codetta, just for greater satisfaction in impressing the key on the mind; such Codetta being derived either from some material in the Movement, which is, perhaps, most usual, or quite new. Codettas of this kind, drawn from the previous material, occur at the end of both parts of the last Movement of Beethoven's Sonata Op. 2, No. 1 (commencing eight bars before the double-bar); first Movement of Op. 2, No. 2, both parts; Op. 10, No. 1, both parts; Op. 22, first Movement, both parts ; slow Movement, both parts, &c. Sometimes, however, there is a Coda at the end of a Movement, either quite new, or an extension of that which has appeared at the end of the first part. There is a beautiful instance at the end of the first Movement of Beethoven's small Sonata Op. 49, No. 1. The Codetta of four bars at the end of the first part is founded on the second Subject. (See page 64.) This, at the end of the Movement, is expanded into an imitational passage on the same theme. (Ex. 368.) These instances present the (368) Andante. uxz H -+ P^^" * T i I- ^^""^^^ I H 4-\ I i i <-+-m I I \-+-\ -H ++- Codetta as an affix to the conclusion of a Movement, or of a complete part of a Movement. XII.] CODA A STRETTO, OR CONDENSATION. 279 But then the very word conclusion may imply much more than the cessation or termination in point of time or con- tinuity more than the close or end. "When the writer of the hook of Ecclesiastes said, " Let us hear the conclusion of the whole matter," he meant that which was the outcome of his related experience. The Coda of his book was, " Fear God, and keep His commandments." As the revised version has it : " This is the end of the matter : all hath been heard." This is just what the beginning of the Coda in a musical Movement seems to say : " All hath been heard : this is the end of the matter." A conclusion is not merely an end by lapse of time, but a result arrived at by reasoning. So that, you see, this elevates a Coda into an important position above that of a mere affix : it may be a concentration or con- densation of that which has been in the Movement, with perhaps, additional considerations, a review. "When it comes at the end of a Fable, we call it the Moral. When it is the conclusion of a speech or oration, it is called the Peroration. And a Coda, in this sense, is a bringing together, as to a focus, the rays from the Movement. It takes, in a Fugue, the form of a Stretto, often on a Tonic-Pedal: a Stretto being the bringing into narrower compass, closer contact, or straits, the Subject and Answer, or portions of them. In a Novel or Drama, the same sort of process takes place when, as we say, towards the end, the plot thickens. Sometimes, indeed, the Coda is a very condensed, almost hasty, or at least impetuous, summing up. As in the case of that to Mozart's Sonata No. 14, first Movement. (See Lectures IV. and VI.) The working in the second part may have been, supposably, of the nature of dilation : that of the Coda will be, probably, pithy, or at least concise, compendious ; and, perhaps, with some brief hints of possible workings, which have not been carried out in the Movement. Take, for an example, the first Movement of Beethoven's 280 LECTURES ON MUSICAL ANALYSIS. [LECT. Sonata Op. 2, No. 3. The Coda is inaugurated by an interrupted cadence (Ex. 369) ; the chord of AJ7 instead of (369) Allegro con brio. the Tonic chord. This is followed by Arpeggios on the harmonies thus represented (Ex. 370) : a relief from the (370) h4 #4 6 C6 4 fc6 ,- "i. J^ ill _ L 1 , ter :~E^ working, leading to a Cadenza (ornamental passage), drawn from the Subject, which is then returned to. Then, instead of this passage, which appeared at the opening of the Move- ment (Ex. 371), the figure marked * is worked imitationally, thus (Ex. 372) ; and then the Movement is terminated in the same manner as the first part. xii.] CODAS IN BEETHOVEN'S OP. 2, NO. 3, AND OP. 7. 281 (372) Another example is furnished by the first Movement of Beethoven's Sonata Op. 7. This Coda, also, is introduced by an interrupted cadence, just at the point where, in the first part, the close was made. (Ex. 373.) Then, among (373) Allegro molto con brio. -t^t\ :i-_l I Int. Cad. J: 53 \=t= &C. ^r other fresh presentations, this (Ex. 374) is thus changed 282 LECTURES ON MUSICAL ANALYSIS. [LECT. (374) . 4 < m J , 1 (Ex. 375). Afterwards occur some prolongations ; and this (375) ____ &c. passage (Ex. 376), which would be perplexing to analyze (376) ~^~ JS_J- XII.] CODAS BY MOZART, BEETHOVEN, ETC. 283 except with tins changed notation, and the harmonies indicated by the figuring. (Ex. 377.) The very vagueness (377) of the incomplete harmony, however, constitutes one of its charms. I called your attention, in the last lecture, to the fine Coda of this kind, i. e. with suggestions of new working, &c., in the Rondo of Mozart's Sonata No. 15. Also, in Lecture VIII., to that of Mozart's Quintet in G minor. (Ex. 242.) Mozart's Quartets, &c. have various interesting examples of Codas in which some new bringing together of Subjects, or other workings, occur. One of the most notable of Codas, for bringing together, in Stretto fashion, of Subjects previously presented in their simplicity, is that to the last Movement of Mozart's Sym- phony No. 41, the Jupiter (Ex. 378) ; and these Subjects, moreover, are in invertible Counterpoint with one another. This has often been adduced as a famous specimen of Quintuple Counterpoint. One inversion is (Ex. 379). The Coda to the Finale of Beethoven's Sonata Op. 57 consists of an Episode of eighteen bars, commencing (Ex. 380), followed by a reiteration of some of the material of the Movement. The Coda to the Finale of Mendelssohn's Scotch Symphony 284 LECTCRES OX MUSICAL ANALYSIS. [LECT. is an appendix a new theme, in fact, in different time (S) to that (*) of the Movement which it terminates. (378) Fl. & V n I. T^rfs = * * ' ? ' RuSQ i 1 1 1 tF Ob. I. & V. 11. . . * I 1 j . f\ ( ' f > ' Cello & Fag. I. Ob. II. & Viola. Basso & Fag. II. -j = j=J=i=I=?=f[=l 3-p=:^fz-z=|:= === p -&- &c. J- Thus we have seen that a Codetta may be merely a short passage to give completeness to the termination of a Move- ment an affix. Or it may be a reminiscence ere closing. Or, assuming the proportions of a Coda, it may, at the climax or peroration of the Movement, be a condensation or summing up, or concise bringing together, in some new way, xii.] CODA TO MOZART'S JUPITER SYMPHONY, ETC. 285 (379) (380) Presto. of the material, or some of it, which has appeared in the Movement. By no means is it, as a non-musical dictionary says, a passage which may usually be omitted at pleasure ! LECTURE XIII. THE SONATA A DEVELOPMENT OF THE SUITE, PARTITA, OR LESSON. ORIGINALLY A SERIES OF DANCE-MOVEMENTS, WITH SOME OTHER FORMS. SURVIVAL OF THE MINUET. TRIO EXPLAINED. THE SCHERZO. UNION OF THE TWO STRUCTURES, CONTINUITY AND EPISODE, IN THE MINUET AND TRIO. CONCISE EXAMPLES, FROM HAYDN AND BEETHOVEN. MORE EXTENDED AND DEVELOPED EXAMPLES, BUT WITH COMPRESSED WORKING, FROM BEETHOVEN AND MOZART. RHYTHMICAL DEVICES. EXAMPLES FROM QUARTETS BY HAYDN, MOZART, AND BEETHOVEN. CONTRAPUNTAL, FUQAL, AND CANONIC DEVICES. EXAMPLES FROM DUSSEK, CLEMENTI, ETC. 289 XIII. THE series of Movements constituting one complete work which we term a Sonata (from Suonare to sound), or Symphony (sounded together), or Concerto (consort of sounds), these two latter terms being applied to music for several instruments, originated in the Suite de Pieces, set of pieces, or Movements ; or Partita, a composition divided into parts, or movements. The distinction between the Suite and the Partita seems not very clearly defined. According to some, Partita was the original German name, Suite the French term, and Lesson the English. Handel's Suites were originally called "Lessons for the Harpsichord." One great distinction between those forms of composition and our modern Sonata is that, in those, all the Movements had the same Tonic and mode ; whereas in our Sonatas, &c., nearly always one, at least, of the Movements, is in a different key, or Mode, or both ; which is a great advantage and relief. The old Suites, moreover, were made up, principally, of the Dance-measures of the period ; though there were also Move- ments of another kind, as Preludes, Airs, with or without Variations, Fugues, &c. These dances having, for the most part, become obsolete, so have the musical Movements to which they were danced ; though many writers of the present day produce compositions, ostensibly in the old idiom : rarely, however, including them in Sonatas or Symphonies. The Minuet is the only one of the old dance-measures which has been perpetuated as a Movement in a large work. The word is from Menu (Fr.), small, pretty, dainty, having reference to u 290 LECTURES ON MUSICAL ANALYSIS. [LECT. the little steps taken in the dance, which was of French origin. Originally a sedate, dignified dance, the musical Movement had that character, as in the Minuet in Handel's Overture to Samson, and that in Mozart's Don Giovanni. There are several examples, moreover, in the Suites and Partitas by Bach. A second Minuet was also alternated, sometimes, with the first. This second Minuet was played by three instruments, the first, originally, for two : and thus the second Minuet was also sometimes termed the Trio. And this came to be the term applied to the Episode, or Alternativo, of other dance-measures. Haydn, in his Sym- phonies and Quartets, extended the Minuet from its original limited dimensions j and imparted to it a more jovial character, thereby abandoning all idea of adaption to dancing purposes. Some of his Minuets, indeed, are what were afterwards termed Scherzos. The term Scherzo, meaning joke, or play, was used, indeed, by Bach, for a Movement in I time in his third Partita, in A minor. But Beethoven seems to have been the first to apply the term to an extended and quick Move- ment in triple time, taking the place, in a Sonata, or similar work, of the old Minuet. He, indeed, also applied the term to a Movement in \ time, of regular " continuity " plan, that in At>, in his Sonata Op. 31, No. 3; which, however, is followed by a Minuet (see Examples 363, 364), and, therefore, does not take the place of one. Mendelssohn, again, used the term Scherzo for the lighter Movements taking the place of the Minuet, in various works ; and you will remember his Scherzo, in | time, in the Midsummer Night's Dream music. Indeed, he seems to have associated the term very much with fairy revels. There is nothing in the term itself which indicates the rhythm in which it is written : it is quite indefinite. Whereas a Minuet must be in triple time. A Minuet and Trio, with Da Capo, and with or without Codetta, constitute one Movement, uniting the two structures XIII.] CONCISE MINUETS : HAYDN's SONATAS. 291 of Continuity and Episode : the Minuet and the Trio each, in miniature, forming, in many cases, a complete little Movement on the plan of a first Movement. Some Trios, however, are not quite complete ; having no full-close, but having a conduct- ing passage to effect the return to the Minuet. These remarks apply equally to the quick Minuet termed a Scherzo, with Trio. Some Minuets, indeed, are of such concise form, and so brief, as not even to modulate in the first part, but to make a half-dose only; as that of Haydn's Sonata No. 7, in E (Ex. 381); or a. full-close in the key, as that of his Sonata No. 31 (Ex. 382), in C# minor. (381) (382) Moderate. -J- n 2 292 LECTURES ON MUSICAL ANALYSIS. >y The Minuet of Beethoven's Sonata Op. 31, ~No. 3, already referred to (see Ex. 363, 364), has no modulation, the first part having only a half-close, on the Dominant harmony, not in the key of the Dominant. The Minuets of his Sonatas Op. 10, No. 3, and Op. 22, and the Scherzo of Op. 26, terminate the first part with a Perfect Cadence in the key of the Movement. The middle Movement, Allegretto, of his so-called " Moon- light" Sonata, Op. 27, No. 2, which is not termed either Minuet or Scherzo, but has a Trio, with Da Capo, is exceptional in its commencement. The first phrase is in At>, the dominant to the key of the Movement, Dfr ; but the first part finishes in Db, as does that of the Trio. The Allegretto of his Sonata Op. 14, No. 1, likewise terminates the first part in the Tonic. But, in other cases, and more frequently, the Minuet or Scherzo is of the structure of a very short first Movement, with, if not a second Subject in, at least a modulation to the Dominant or other related key ; and with a second part in which more or less working is presented. From the limited dimensions of the Movement, however, it is obvious that not only must the Subjects themselves be brief and concise, but, also, the working, very terse, almost epigrammatic. If Scherzo means pleasantry, fun, a Movement of the kind that we are considering must, almost of necessity, illustrate the adage that " brevity is the soul of wit." All must be crisp and neat. XIII.] FRAGMENTARY WORKING : BEETHOVEN'S OP. 2, NO. 1. 293 There is special opportunity and fitness in these little Movements, with short phrases, for fragmentary, I might say fractional, working ; and for quaint and broken rhythmical effects. Thus, the first phrase of Beethoven's Sonata Op. 2, No. 1, besides the incident of the bass of the second and third bars being the inverse of the highest part (Ex. 383), and appearing (383) Allegretto. Hi *= &c. w- -t* - fefe^ 5=pP EEF afterwards with that highest part as an inner part, very slight matters, doubtless (Ex. 384), gives rise to the responses (384) . Jill I *r dn=*ir=i=*=teist^t3^^=j=! &c. by contrary motion, in these ways. (Ex. 385.) And the slight (385) 294 LECTURES ON MUSICAL ANALYSIS. [LECT. form of the close (Ex. 384) suggests this bold passage to return to the Subject, (Ex. 386.) These are just the elements (386) of the homogeneity in the Movement, in which there is not an irrelevant bar : no "padding." In the Trio to this Minuet, the inversion of the parts can hardly escape your notice. The imitational working in the Scherzo of No. 3 of the same Opus is very obvious and interesting. (Ex. 387.) And observe, also, how the original figure of the Subject is thus varied in presentation (Ex. 388) ; and afterwards used for the Codetta to the Scherzo ; and finally in altered guise for (387) Allegro. -Tf-fV [ ^ 1 ' 1 [ ^F : * ^ ^ ' W} ' 1 . - r i p i r^ ' tS ] |- 4 i_- XIIL] BEETHOVEN'S OP. 2, NO. 3. MOZART IN D. 295 (388) ~^m f * Trt-^-f f 8 P 8| P- US I I t L^_ the CbcZa to the entire Movement. (Ex. 389.) Take, as an (389) example of compact structure and neat working, the single Minuet, without Trio, of Mozart, commencing (Ex. 390). The last two bars of this extract are reiterated so as to effect a modulation; and the passage commencing (Ex. 391) occupies the position of Codetta. In the second part (Ex. 392), that which may be called the Tenor of bars 5 and 6 (Ex. 390), and which is an extension of the bass of the opening bars, is, with modification, taken by inverse Movement, in 296 LECTURES ON MUSICAL ANALYSIS. [LECT. (390) Inv. and | Dim. of A.| dolce. IA. ii Extension of A. &c. (391) Ex. 392. (392) -rf 1 Ex. 391. MOZAKT'S MINUETS. 297 thirds, initiated with a forcible discord ; and the bass has a contrapuntal passage, partly suggested, it would seem, by the last group of bar 2 (Ex. 391). This semiquaver figure is prolonged as indicated, and leads to the return of the Subject. This is accompanied by the figure of the inner parts of bar 2, Example 392, by retrograde and inverse movement, answered in the bass. (Ex. 393.) The Movement then proceeds as in the first part, terminating in the original Tonic. This Minuet is singularly bright and interesting, needing and repaying study as a whole. One of the most notable of Minuets is that, with Trio, in Mozart's Symphony in G minor, !N"o. 40. This is re- markable, not only for the stately dignity of the Minuet, and the simple sweetness of the Trio, but also for its rhythm, for its working, and for the Codetta of the Minuet. The rhythm of the opening is of three bars, there being three phrases of that length, followed by two phrases of a bar each, and one more three-bar phrase. Slight devi- ations from the exactitude of these proportions will be 298 LECTURES ON MUSICAL ANALYSIS. [LECT. observed ; the third phrase lacking one beat, and the last phrase having an extra beat. (Ex. 394.) The second part (394) Allegro. 9-W ii III [' "' I | II II , T continues the three-bar rhythm ; the Subject being taken as the bass, with a new figure superposed. (Ex. 395.) This (395) XIII.] MINUET FROM MOZARl's G MINOR SYMPHONY. 299 being reiterated twice, and followed by one-bar phrases, leads to the return of the Subject ; but with quite new presentation, the imitational working involving, or overlapping the rhythm, and intertwining the parts. (Ex. 396.) Then follows the (396) r r Codetta : two three-bar phrases, with reharmonking of the Subject. (Ex. 397.) (397) Flute. ^g53=g^=^ 1 i i i 14 1 P Oboi. Bassoon. 300 LECTURES ON MUSICAL ANALYSIS. [LECT. Ill I , ITZ'ZZg^fE'EEiE The Tr?'o contrasts with the Minuet, firstly, in being in the Major Mode ; secondly, in its rhythm of three phrases of two bars, followed by four phrases of two bars, &c. ; and, thirdly, in the quiet, and fascinating instrumentation. (Ex. 398.) (398) EC ml * f 4 51 i trir " I mm ^i EgiE EE|=pEj=q E -*_ 3 ii E :: 1 1 1 I m * { P P f XIV.] MOZART'S FUGUE IN F MINOR. tr 12 333 11 1 334: LECTURES ON MUSICAL ANALYSIS. [LECT. 19,, __. * 20. A I,L ij J---tJ =h-J--T-J I hr^-J I F ^ fr $** m -a^r i-fa* * U i *- * - ! -K ^4-i P *PP B H 1 * m ~v!~ J^= g ==* : ^3^EE 8 8 -^^ 8 8 23 -F H^M^y^zte^ : = ==EzfEg=rficg^3: 11 . P^ _ : r r_ r r r r r Hi; ::=:=:: -4 xiv.] MOZART'S FUGUE IN F MINOR. 335 25 afterwards in Db major and Eb successively, bars 8, 10. A fragmentary entry by diminution occurs, bar 9 ; and then the Subject by inverse Movement, in F minor, bar 13, &c. C minor being reached, by regular process, a most startling modulation is made, by an implied enharmonic, to the key of Ftt minor. The chord of the Augmented (German) 6th in & minor, bar 22, is changed, by the AH, to the 1st inversion of the Diminished 7th, with D, the Supertonic, as its root (the Gb in the highest part being used for con- venience instead of FjJ), and the Eb and Cfl being really treated as D& and Btt, respectively, with Git, Supertonic of Fit, as root, resolve on the harmony of that key, in its 2nd inversion. Although the immediate purpose for which I brought this Fugue to your notice was the modulation by unexpected answers, it is out of the question for me to pass by these other points that I have specified ; especially this very remarkable modulation. But, beyond all this, Mozart has displayed his marvellous fertility in that, after bringing the Fugue to this temporary termination, and returning to the Subject of the Fantasia, of which it forms a part, he proceeds to a lovely slow Move- ment in Ab; and then, returning again to the Fantasia Subject in F minor, re-introduces the Fugue in quite fresh guise, with new florid Counterpoint, thus (Ex. 428). The general direction to students about Fugue writing is 336 LECTURES ON MUSICAL ANALYSIS. (428) r * [LECT. Bis. to make only natural, as distinguished from extraneous modulation. But, as in other things, so here : genius has its prerogatives. Such instances as this just given, and of Handel's Fugue in E minor (Suite IV.), in the course of which the Subject is introduced in Fit minor, are unpre- cedented, and not to be taken as precedents. They are inimitable, both because they ought not to be, and cannot be imitated with success. Another instance of effecting a change of key by means XIV.] HANDEL S FUGUE IN B MINOR. 337 ' of an unexpected entry may be quoted from Handel's Fugue in B minor, commencing (Ex. 429). In the course of the (429) Fugue this passage (Ex. 430) occurs, including a Stretto between the extreme parts (for the time being), the Tenor entering with the Subject two bars after its entry in the Treble : the Subject being modified in this Treble entry, for convenience, by the descent of a 3rd instead of the ascent (430) ^ ^^^- descent -*H~L 338 LECTURES ON MUSICAL ANALYSIS. [LECT. XIV. of a 6th. (See my Text-book, 385.) Subsequently the Bass enters with the Subject in D major. Another Stretto from the same Fugue is (Ex. 431), and illustrates the occasional alteration, in the course of a Fugue, .of the length of the first note of the Subject. (See my Text-book, 384.) The same kind of alteration may be found in Bach's Fugue in Eb, VoL ii. of Das Wohltemperirte Clavier, No. 7. (431) LECTURE XV. FUGUE, contimied. UNEXPECTED ENTRIES OF SUBJECT OR ANSWER. COUNTER-EXPOSITION. VARIOUS ORDERS OF ENTRY. EXAMPLES FROM BACH AND MENDELSSOHN. BRIEF ANALYSIS OF BACH'S NO. 9 FROM ' DAS WOHLTEMPERIRTE CLAVIER. ' EXCEP- TIONAL ANSWERS: EXAMPLES FROM BACH AND DUSSEK. EPISODES IN FUGUES : WHEREIN DIFFERENT FROM THOSE IN RONDOS. INVERSE MOVEMENT. EXAMPLE, WITH STRETTI, FROM BACH, NO. 20. CANONIC STRETTO FROM HANDEL. EXAMPLE OF COUNTER- SUBJECT FROM HANDEL'S 'JUDAS MACCABEUS.' BEAUTIFUL MANNER OF ENTRY THAT SHOULD CHARACTERIZE A FUGUE. IN- EXHAUSTIBLENESS OF THE TOPIC. 341 IN the last Lecture I called your attention to the im- portance and power of unexpected entries, especially at un- looked-for intervals, so contrived as to effect modulation in conjunction therewith. This is specially to be noticed in connection with a section which, in some Fugues, follows the Exposition, and is termed the Counter-Exposition. This, as its name partly implies, is a reversal of the order of entry which has been adopted in the Exposition : the voices or parts which had the Subject now taking the Answer, and vice versa, and the Answer, moreover, taking the lead, followed by the Subject, and so on. This latter order, however, is not always observed ; nor, indeed, is the somewhat cumbersome process of a complete Counter-Exposition frequently to be found, especially in a Fugue of four or more parts. More usually, in a four-part Fugue, after the fourth entry, which has been of the Answer, in the Dominant, completing the Exposition, one more entry, in the Tonic, follows, and then divergence begins, by an entry in an unexpected interval and key, us in the Fugue by Mozart. (Ex. 426, 427, 428.) This is the order in Bach's Das Woliltemperirte Clavier, No. 5, in D major, the sixth, or diverging entry, as it may be designated, being in B minor: in No. 17, in Ab, the sixth entry being in F minor : in No. 41, &c. The fifth entry in the Tonic is especially desirable where the Subject has been entirely in that key ; as, in such case, the fourth entry, being the Answer in the Dominant, needs the additional entry after 342 LECTURES ON MUSICAL ANALYSIS. [LECT. the Exposition, in order to confirm the impression of the Tonic, before modulating. In No. 1 of Bach's Das Wohltemperirte Clavier, however, the order of entry is Subject, Answer, Answer, Subject; the Exposition thus closing in the Tonic : followed instantly, not by any Counter-Exposition, but by close Stretto working. In No. 12, in F minor, the order of entry is Subject, Answer, Subject, Subject. In No. 4, in Ctt minor, a five-part Fugue, the fourth entry is, unusually, in the Sub-dominant, and then the final entry of the Exposition is in the Tonic. In Fugue 10 of Bach's Art of Fugue, also, the first Answer commences in the key of the S^b-dominant. (Ex. 432.) (432) In Mendelssohn's organ Fugue, Op. 37, No. 3, the Answer commences on the Sub-dominant, not in the key of the Sub- XV.] EXCEPTIONAL ANSWERS. 343 dominant) although the Subject begins with the Tonic: this being inevitable if the form of the Subject is to be preserved. (Ex. 433.) Exceptional Subjects require excep- (433) ? f T r =fc ^=p-f tH T" 1 "^ &c. tional treatment ; but such instances are not to be taken as precedents, to warrant looseness in treatment on the part of young writers. I do not justify these instances as right because Bach and Mendelssohn wrote them. They wrote them because they were right. In Bach's three-part Fugue in E, No. 9 of Das Wolil- temperirte Clavier, the Subject is announced in the Alto, the real Answer made in the Treble, and the Subject again enters in the Bass. (Ex. 434.) That which serves as Counter- (434) ki. &j&*&j3*ia$ii*-&p?= isLsj- i" 'Lj '"-^ "' 344 LECTURES ON MUSICAL ANALYSIS. End of Exposition. [LECT. A Episode. tf ff ^^J - ' ' i i | | ^ ' ' ' I 11 . . . i . . i i--. ..._,,,!.- I | MlT Counter-Exposition XV.J BACH NO. 9. EXCEPTIONAL ANSWERS. 345 ^ -v ' 1 ^ ** 1 --- Ficb Exposition follows, one bar after the close of the Exposition ; and consists of Subject in the Treble, Answer in the Alto, and then Ansioer in the Bass, modified so as to modulate to C| minor ; in which key there is an Episode of several bars, founded on the second figure in the Subject, and an entry of the Subject in the Alto. Then follows an entry of the Subject in the Bass, in the original key, answered (with slight modification) in the Treble, in the key of the Dominant, then, in the original key, again, in the Alto. After a brief Episode, and one more entry in the Treble, in the original key, a Codetta of three bars terminates the Fugue of twenty- nine bars, remarkable for its compactness, simplicity, and continuity, without any special devices. Although it is an accepted rule that, when the Subject begins with the Dominant, the Answer is to begin with the Tonic, you will find occasional instances of non-conformity to this rule, where its observance would disturb the form of the Answer too much. Here are some cases. (Ex. 435, (435) Subject. Bach. * ' ~ n 346 LECTURES ON MUSICAL ANALYSIS. [LECT. 436, 437). Any attempt at a tonal Answer to Example 435 (436) Bach. ^"" ^ r ( n^ 71^ r ' TTl rTM*^^r~i* Keal Answer- (437) Bach. would be futile. A tonal Answer to Example 436 would destroy the sequential form. Example 437 might be tonally answered ; and, later on in the Fugue, Bach has given the tonal form. Dussek, genius as he was, can hardly be cited as an authority on a matter of this kind. This Subject (Ex. 438) is from his Fantasia and Fugue dedicated to J. B. Cramer. It might be answered tonally, beginning with F. (438) Dussek. Real Answer. XV.] BACH S FUGA CROMATICA. EPISODES. 347 An instance of another kind is furnished by the Fugue succeeding Bach's Fantasia Cromatica. The Subject com- mences with the Dominant, and the tonal Answer commences with the Tonic. Bach has, however, inserted a passing- note, E, between the first two notes. (Ex. 439.) A modern (439) editor has thought fit to alter this Answer, and commence it with E ! You will scarcely need to be reminded that the Episodes in a Fugue are very different in their nature from those in a Rondo. A Fugue Episode is not "a movement within a movement" (see p. 209), of independent origin and structure, but is a connecting link between the strictly Fugal portions of the movement, constructed from material drawn therefrom ; not a break in the continuity of the move- ment, but only in the alternation of Subject and Answer, either for momentary relief, or to effect a progression to the harmony necessary for a Fugal entry, as I explained in the last Lecture. (See p. 325.) Some Fugues have but little episodical matter, being of close Fugal working through- out: e. g. Bach's Das Woliltemperirte Clavier, No. 1, which has scarcely a break to the strictly Fugal workiug ; but, on 348 LECTURES ON MUSICAL ANALYSIS. [LECT. the other hand, is rich in Stretti. In No. 5 there is an Episode of one "bar between the second and third entries, in which the latter half of the first group of the Subject is augmented (Ex. 440) ; and this augmented figure is used for Episodes throughout, as thus (Ex. 441) : ~- w~^=f=d -I I h f No. 12 (Ex. 442) a tonal Fugue, the ascent of a 3rd in the Answer, for a 2nd in the Subject giving the 6th of the (442) XV.J DAS WOHLTEMPERIRTE CLAVIER, NO. 12. 349 Dominant scale to answer the 6th of the Tonic scale has a beautiful sequential Episode between the third and fourth entries, formed from the Counter-Subject figure. (Ex. 443.) (443) This is made use of, in various superpositions, during the Fugue : sometimes by inverse movement, as in this passage. (Ex. 444.) No. 21 has Episodes drawn from the second division of the Subject (Ex. 445); one being in conjunction with the first division by inverse movement. (Ex. 446.) The Episodes of if os. 3, 7, 13, &c. are well worthy your special study. 350 LECTURES ON MUSICAL ANALYSIS. [LECT. Hi R (445) Subject. | 1st division. &c. (446) 1st div. of Sub. by Inv. mov. Inverse movement, indicated in the Examples by V> w to be observed in Js T os. 6 (Ex. 447, 448), 15 (Ex. 449, 450, XV.] DAS WOHLTEMPERIRTE CLAVIER, NOS. 6, 15. 351 451), 23 (Ex. 452, 453); this latter having only the one instance here given. This Plagal Subject is answered tonally : (447) Subject Bach. No. 6. Real Answer. &c. (448) stretto. Inv. ru. V \ Inv. m. and Stretto. &c. N (449) Subject. Bach, No. 15. 352 LECTURES ON MUSICAL ANALYSIS. [LECT. (450) Counter-Subject. ii I-'H-N ii. i Episode. &c. (451) V Counter-Subject by Inv. mov. IF &c. (452) Bach. No. 23. XV.] DAS WOHLTEMPERIRTE CLAVIER, NO. 23. 353 Tonal Answer. Subject by Inv. mov. Answer by Inv. mov. -p A A 354 LECTURES ON MUSICAL ANALYSIS. [LECT. though it would be possible to make a Real Answer. In order to obtain the approach by a descent of a 5th to the Tonic, corresponding with that to the Dominant, in the Subject, the skip of a 3rd, instead of step of a 2nd, is made at the commencement of the Answer. No. 20, also (Ex. 454), has instances of Inverse movement (454) Subject. SE F \- -___ "^^t I'll m fee. Some Subjects do not bear this treatment well, sounding ungain when inverted. The epithet would apply in this instance, were it not for the accompanying harmonies. (Ex. 455.) Still more noticeable, in this Fugue, are the Stretti, in complete Canon. That at (&) is in the 8 ve below, between the upper two parts ; that at (c) is in the 8 ve above, between the inner parts, the same Stretto as the previous one, inverted, both imitations being at the distance of half a bar. At (d) the Stretto is, similarly, between the inner parts, at half a (455) (a) Subject by Inv. mov. rr.] BACH, NO. 20. 355 &c. -- m / A stretto. i r 3: ^ *_ 4 1 M 1 1 ? P. J * W -J k^ I 1- ^X^ ^^ ^ : r^Il; .feEr^g^^^ -^ggS x-F &c. A A 2 356 LECTURES ON MUSICAL ANALYSIS. [LECT. + JL J J- w F=g: :p==j^^zi: :^^ XV.] BACH, NO. 20. 337 :-q^ j^=^=J-rr*TT^ Ejz^fcdEEjz^-f-JH^Fp ^ ' __ i-^ ^^^^^ ^"^^ i ""^^^^ ,^^i r^^^ ij -&- ^ bar's distance, in the 8 Te below ; but with the Subject by inverse movement. This is also, subsequently, inverted, in the Fugue. At (e) is a Stretto in the 5th above. These Stretti also appear, in the Fugue, with varied Contrapuntal 358 LECTURES ON MUSICAL ANALYSIS. [LECT. surroundings. As the Subject and Answer run their complete length, these are complete Stretti. A very close Stretto, inducing a Canon 3 in 1, i. e. one Antecedent, answered successively by two parts, making three in all, occurs in Handel's melodious Fugue in F;jt minor, Suite VI. commencing (Ex. 456). The Canonic passage, (456) which is additionally interesting by reason of the cross accents in the responses, proceeds thus (Ex. 457), being reduced to two parts towards the end. (457) rrr-F-. TT XV.] CHORUS FROM JUDAS MACCABEUS. 359 In Handel's Judas Maccabceus, the Fugal CJiorus, "To our great God be all the honour given," opens with Subject and Counter-Subject ; the latter being the inverse movement form of the Subject, with slight modification, answering it in Stretto, at half a bar's distance. The Subject, announced by the Soprano, is answered tonally in the Alto, at the fourth bar. The Counter- Subject, announced by the Bass, has a real Answer, in the Tenor. The explanation of this is that, in the Subject, the Dominant is prominent, one of the special marks of the Subject of a Tonal Fugue; whereas, in the Answer, the Dominant scarcely appears. (Ex. 458.) I have spoken of entries of the Subject at unexpected 360 LECTURES ON MUSICAL ANALYSIS. [LECT. XV. J intervals, or in unexpected keys. (Beautiful entries and surprises are among the real points to admire in Fugues. Mendelssohn was particularly felicitous in this matter ; as, indeed, in the re-introduction of the Subject, in his com- positions generally. Some of you can confirm this by re- calling the Fugues in his Organ Sonatas, Nos. 2 and 4. Entries should be made with the same welcomeness that I spoke of when treating of the return to the Subject in a Rondo. (See p. 256.) On the other hand, non-adepts exhibit their maladroitness very much in the awkwardness with which they bring in the Subject, and in the surprises that are caused by inappropriate introduction, and in fact treatment, of the Subject. Or else, the treatment is so similar, with so little disguise of the tautology throughout, that little interest is awakened. I have endeavoured to direct your attention to some of the interesting points, in fine examples, by great masters. These are but samples : the field is a very fruitful one. My object has been to set you thinking, and to help you to think and observe, with zest and profit : by no means to treat exhaustively of an inexhaustible subject. LECTURE XVI. SUMMARY OF THE DIFFERENT FORMS OF MOVEMENT, WHICH MAY SOMETIMES BLEND. EXCEPTIONAL STRUCTURES : BEETHOVEN'S SONATAS, OP. iJ6, OP. 54, OP. 101, OP. 27. FANTASIAS: NOT FORMLESS OR INCOHERENT. THE FANTASIAS OF MOZART, MEN- DELSSOHN, BENNETT, SCHUBERT, SCHUMANN, BEETHOVEN, BACH, AND THE LECTURER. THE CONCERTO. THE OVERTURE. VOCAL MUSIC. CONCLUSION. 363 XVI. WE have now considered the principal forms of instru- mental Movement : the Sonata (first Movement) structure, the Episodical, or Rondo structure, and the Fugal. And we have seen how these may sometimes coalesce, or run into one another. There is sometimes episodical matter in a first Movement, or Movement of continuity or development. In a Rondo, not only may the first portion of the Movement be like the first part of a Sonata first Movement ; but, also, there may be, as one of the Episodes, development, working after the manner of the so-called Free Fantasia of a first Movement. In this case the Episode is not of the nature of relief from the con- tinuity, but is integral. And, further, a Fugue may, in conjunction with its fugal structure and devices, proceed on the same lines as a first Movement, as regards order of modulation, distinct division into first part, second part with closer working, return to original key, and Coda, often taking the form of a Tonic Pedal-point. But, when all this has been said, it remains broadly true that an instrumental Move- ment may generally be assigned to one of these three classes or structures. Of course I am speaking of the compositions of the great Masters. And it is also true that most Sonatas, Symphonies, &c., commence with a Movement of continuity, with or without an Introduction, on the plan that I illustrated in the earlier Lectures. The other Movements vary in their structure, as I have said ; some slow Movements, and some Finales, being of development structure : others episodical. There are exceptions, however. Beethoven's Sonata Op. 26 (with the Funeral March} commences with an Air with Variations : there is no Movement of development except the 364 LECTURES ON MUSICAL ANALYSIS. [LECT. concise Scherzo. (See pages 290-293.) The first Movement of his Sonata Op. 54 is episodical. The Sonata Op. 101 is somewhat irregular, partaking of the Fantasia character, as though improvised ; but by no means incoherent, inconse- quential, or planless. The Finale, moreover, is of regular (development) structure, vrithfugal second part. And each of the two Sonatas Op. 27 was expressly termed by Beethoven, Sonata quasi una Fantasia. They are of exceptional struc- ture, although the Finales are regular enough : the reminis- cence of the slow Movement in that of Uo. 1, not interfering with the structure of the rest of the Movement, and giving effect, by contrast, to the Presto Codetta. Those who, like myself, contend for design in musical composition, and who consider that the structures sanctioned, exemplified, and developed in the works of Haydn, Mozart, Beethoven, &c., are of the highest order, and by no means effete, do not for a moment urge any servile adherence to any stereotyped form, or any repression of properly conducted experiments in the way of planning Movements ; though, in counselling young writers, we do suggest as eminently reasonable, that they should perfect and prove their powers by the mastery of accepted methods, before they experimentalize, or stray into "fresh woods, and pastures new." Let not their experiments be mere erraticism, and betray the lack of real self-discipline. The very term Fantasia, conjoined with that of Sonata, in the two instances just referred to, Beethoven's Op. 27, and which might have been so conjoined with some others, suggests a few remarks. Several magnificent works have borne this title : compositions by no means formless, fan- tastic, or erratic, but with coherence and design. The con- nection, however, between the several parts, portions, or Movements in some of them may be described as assthetic or dramatic, rather than structural. Such is the case with Mozart's Fantasia in C minor, usually published with the XVL] FANTASIAS: MOZART, MENDELSSOHN. 365 Sonata in the same key. (See p. 60.) There is a return to the opening theme which establishes the unity of the work ; but there is no manifest structural connection between the several sections in different keys and times of which the work consists, and which lead into one another. There is no working of subjects, except by reiteration in each individual portion ; and the nearest approach to completeness in any section is in the Andante in Bb. It is left to the hearer to sympathetically detect and follow the poetical consecution of the work as a whole. The other Fantasia in the same key, C minor, by Mozart, though not without a certain character of improvisation, is regular in structure ; having second Subject in Eb, close of first part, second part with modulatory working, and recapitu- lation in the usual manner. His small Fantasia in D consists of a preludial introduction in D minor, an Adagio, interrupted by Cadenza passages, and a regularly constructed Allegretto with Codetta in D major. His Fantasia in C major, preceding an interesting Fugue (see Text-book, Figs. 316, 331) is improvisatorial, but with very clear and consequential working of certain thematic figures with free modulations. The Fantasia, Pianoforte Duet, to which I have referred, page 331 et seq., consists of a brief Introduction to the Fugue which I have partly analysed, the Subject of which Introduction is resumed as an interruption to the Fugue, followed by an Andante of regular structure and inexpressible loveliness ; and then a return to the original Introductory theme, and the Fugue with new working, which I have already described. Mendelssohn's Fantasia in F& minor, Op. 28, was origin- ally termed Sonate Ecossaise, and has, after a brief preludial passage, an Andante of regular structure, though of freer general character than an ordinary slow movement of a 3G6 LECTURES ON MUSICAL ANALYSIS. [LECT. Sonata. To this succeeds an episodical Movement in A major, and a Finale of regular continuity structure, of Toccata character : i. e. adapted to show the touch, the capabilities of both performer and instrument. Stern dale Bennett's Fantasia in A, Op. 16, dedicated to Schumann, has little to distinguish it from a Sonata, except that the first Movement has no second part with working, returning to the Subject in the original key almost immedi- ately after the close of the first part in the Dominant. Moreover, the slow Movement, Canzonetta, is, as its name indicates (little song), very brief, serving to introduce the Finale (see p. 91), which is of regular structure, with little, however, of second part working. Schubert's Fantasia in C, Op. 15, is by no means without structural coherence, though characterized by. the redundancy and structural faultiness of the Composer's instrumental works of considerable dimensions. Schumann's Fantasia in C, Op. 17, develops, in a variety of ways, one initial, leading theme, as is' intimated by the motto from Schlegel which is prefixed to it ; partaking partly of the nature of Variations, and partly of continuous Move- ment writing. Beethoven's Fantasia, Op. 77, also concludes with Vari- ations, after some fragmentary Movements, the bearing of which upon one another is, at all events, not manifest in the way of structure or development. There is one Fantasia which demands special notice : the Fantasia Cromatica, by Bach ; characterized by Professor Macfarren as " that extraordinary anticipation of modern resources, that prophecy of all that is accomplished in the music of the present, and all that can be possible in the music of the future." * This characterization has reference to the very remarkable progressions of chromatic harmony which the work presents. The general nature of the Move- * Six Lectures on. Harmony, p. 179. XVI.] FANTASIAS. THE CONCERTO. 367 ment is preludial and improvisatorial, with arpeggios and scale passages on successions of harmonies, very novel in those days when the work was Avritten ; and which afford material, perhaps, for some discussion, if not controversy, even in these modern times when the nature and use of chromatic harmonies has been so systematized. Other similar works by Bach of a Fantasia character might be cited. But you will understand from the references to several Fantasias that I have now made, that some works bearing this title have but little to distinguish them from Sonatas ; and that others, though by no means planless, or without design, will not range themselves under either one of the forms of Movement that I have endeavoured to expound to you. I have never said that those forms are the only right forms. But, while matured genius may experimentalize and strike out new lines of thought, or courses of procedure, young writers should hardly venture in this direction, but should wait till their judgment is trained to govern and regulate their impulses. I may mention to you that my own Fantasia in F minor, Op. 35, dedicated to Professor Macfarren, is regular in form, with slight deviation ; consisting of a somewhat long Intro- duction, foreshadowing the Allegro, which is a movement of continuity, with reminiscence of the slow Introduction at the return to the key, and a similar reminiscence as a Codetta. There is one development of the Sonata or, more properly, of the Symphony form, which I must tell you of : namely, the Concerto. Whereas the early form of the Symphony for an orchestra was termed Concerto (see page 4), instruments playing in concert, so that the term, a Consort of Viols, i. e. of stringed instruments, is met with (see p. 289) ; the occa- sional prominence given in some such compositions to a particular instrument, seems to have been the origin of the kind of composition which we now call a Concerto, in which 368 LECTURES ON MUSICAL ANALYSIS. [LECT. one instrument, such as the Pianoforte, or the Violin, has an dbbligato (obligatory, as distinguished from ad libitum} Solo part, with orchestra accompanying it ; but such accompani- ment not being by any means merely subordinate or ad libitum. The form in which the first Movement of the Pianoforte Concertos of Mozart, Beethoven, Hummel, &c., and the Violin Concertos of Beethoven, Spohr, &c., were generally written, was an enlargement of the first Movement form that I have already explained. There was usually a brief epitome of the Movement, announcing the principal Subjects by the full band ; this portion being known as the first Tutti. This was followed by the Solo instrument, with bravura and other passages, exhibiting the capacities of the instrument ; expatiating, so to speak, upon the material of that first Tutti, with the same order of modulations as, and, generally speaking, after the manner of a first part. This is termed the first Solo, which, however, is in conjunction with the Orchestra, Then follows a second Tutti, and a second Solo, working the material of the first part. Then the return to the key and Subject by a brief third Tutti, followed by a third Solo ; these constituting the Recapitulation. Towards the end of the Movement it was usual to have a pause on a 2 chord ; and, at this point the performer played a Cadenza, supposed to be an improvisation upon some of the material of the Movement. This form has been in more recent times considerably modified and abridged ; the Solo instrument and the orchestra amalgamating more, curtailing the Tuttis. This is exemplified in the Pianoforte Concertos of Mendels- sohn, &c. The Slow Movements of Concertos have varied in form. For the last Movement, the Rondo form is fre- quently chosen. Works of the same class have also been written more after the manner of a Fantasia ; such as the Concert-Stuck by Weber. The Overture, or orchestral prelude to an Oratorio or XVI.] THE OVERTURE. VARIATIONS. 369 Opera, has varied at different times, and still varies in form. In early times it sometimes consisted of a series of Movements, including a Fugue, or a dance-movement, as in the case of Handel's Overture to " Samson," which has both Fugue and Minuet. The Overture to " The Messiah " consists simply of an Introduction and Fugue. Some Overtures are on the same plan as a first Movement ; either, as in Mozart's "Figaro," without a second part, or Free Fantasia ; or with such working as in his "Don Giovanni." His " Zauberftote h Overture is a marvellous union of the Fugal and first Move- ment forms. It has been called " the despair of Overture writers." The Overture to Mendelssohn's " Elijah" isfugaL Some Overtures are essentially dramatic, taking their character, and even their form, from the drama which they precede. Weber's " Der Freischutz " and " Euryanthe " may be cited as examples. Some, such perhaps as his " Preciosa," may be termed melodramatic : though this epithet would be more applicable to certain Overtures by 'inferior composers. An interesting method of presenting the same idea or theme in different aspects or forms, is furnished by Variations on an Air or Melody : a harmonized Melody, that is. This may call into use the various harmonic and contrapuntal resources of Music, and evince the insight of the Composer into the sug- gestiveness of simple themes. In old times, Double was the term used for that which we call a Variation. In those Doubles to be found in the Suites by early English and French composers, such as William Byrd, Dr. John Bull, Dr. John Blow, Rameau, Couperin, &c., little more is done than to decorate the melody and harmony by Arpeggios, Scales, and the like ; such decorative passages being termed Divisions. The outline remained, both of melody and har- mony. Sometimes such Variations were upon a Ground Bass : the same Bass, with or without embellishment, re- peated any number of times. Examples are furnished by B B 370 LECTURES ON MUSICAL ANALYSIS. [LECT. XVI. Handel's Passecaille in G minor, with 13 Variations : his Chaconne in G major, with 61 Variations, &c. In more modern times the tendency has often been rather to disguise than to ornament the original theme. Variations may pre- sent different harmonious treatment of the same melody ; different melodious treatment of the same harmony ; contra- puntal involvements, such as are exemplified in Bach's 30 Variations in G, with Canons in all the intervals, a Fughetta, &c. ; rhythmical changes, and various devices within reach of the trained Musician. Tawdry Variations, written merely for the display of executive skill, have abounded ; but the great masters have brought the resources of their knowledge and skill to bear upon the production of Variations of much musical interest. Vocal Music is, of course, influenced in its forms by the words, and constitutes a wide subject for analysis. But many Clwruses in Oratorios, and similar works, are, in the main, constructed very much on the same plan as a first Movement : others arefugal. I have confined my analyses made in your hearing mainly to instrumental works. Eemember that, while a true work of Art has design, plan, development, all of which may be analysed, there remains underlying all, permeating all, that subtle sentiment, the offspring of genius, which can neither be defined nor analysed. By training, and such explanations as I have endeavoured to furnish you with, you may learn how to analyse, and, there- fore, intelligently to understand and enjoy great Music. But the subtle essence appeals to your sensibilities, which may be kindled, awakened, regulated, but not imparted. All expositions will avail little unless there is, in yourselves, the sympathetic faculty to appreciate and enjoy the sublime or the beautiful. INDEX. ACCENT, Cross 187 Alternative) 290 Analysis defined 3 Answer, Fugue, Real and Tonal 305, 316 Answer, Exceptional 345 Antecedent 152, 155 Arsin et Thesin, Per 189 Attendant Keys ... 149, et seq. Augmentation, 133, 153, 176, 348 Authentic Mode and Fugue Subject 316 Bach, Joh. Seb. , Art of Fugue 342 Das Wohltemperirtc Clavier (48 Preludes and Fugues) : No. 1 2 3 4 5 6 7 8 g ,10 ,12 ,13 ,14 ,15 ,16 ,17 ,20 342 . ... 327 . ... 349 . 314, 342 . 341, 348 ,. 327, 350 349 27 343, et seq. 320 348, et seq. 349 327 351 .. 315, 321 ,. ... 341 . 354 No. 21 ,. 23 ,. 31 41 Fantasia Cromatica Fugue of ditto ... Fugue in A 349 350 338 341 366 345 346 ,, C minor (2 part) 320 ,, ,, C minor (3 part) 346 ,, ,, D minor 322, et seq. ,, E minor 345 Partita No. 2. (Rondeau) 223 Scherzo in A minor (Partita No. 3) 290 Suites Franqaises Nos. 5, 6 16 30 Variations 370 Banister, H. C., Allegretto alia Marcia 268 Fantasia, Op. 35 367 Beethoven, Andante, Op. 35 105 Fantasia, Op. 77 366 Overture to Leonora ... 50 Quartet, Op. 18, No. 1 ... 304 4 87,305 Quintet, Op. 4 267 29 ... 51, 200-1 Rondos, Op. 51 266 Septet, Op. 20 ... 202, et seq. Sestet, Op. 81 267 Sonatas (Solo) : Op. 2, No. 1 60, 76, 130, 166, 208, 278, 293 2 41, 163, 261, 278 B B 2 372 INDEX. Beethoven, Sonatas, continued Op. 2, No. 3 43, 165, 280, 294 Op. 7 140, 142, 258, 276, 281 Op. 10, No. 1 62, 278 2 ... 8, 26, 79, 120 > 3 292 Op. 13 ... 71, 93, 97-9, 214 Op. 14, No. 1 ... 20, 85, 119, 208, 292 Op. 14, No. 2 277 Op. 22 27, 160, 176, 261, 278, 292 Op. 26 261, 292 363 Op. 27, Nos. 1, 2 364 No. 2 75, 292 Op. 28 ... 11, 179, 216, 262 Op. 31, No. 1 ... 47, 86, 264 2 73, 274, et seq. 3 11, 22, 81, 85, 142, 274, 275, 290, 292 Op. 49. No. 1 ... 64, 123, 278 2 11, 17 Op. 53 48, 86, 105 Op. 54 364 Op. 57 ... 65, 75, 89, 283 Op. 79 216 Op. 81a 101, 142 Op. 90 76 Op. 101 310, 364 Op. 106 49, 78, 181 Op. Ill ... 77, 99, 165, tit seq. Sonatas, Pianoforte and Violin, Op. 12, No. 2 ... 47 Op. 23, 1 ... 77 Op. 30 2 ... 310 ,, ,, ,, 3 ... 47 Op. 47 94 Symphonies : No. 1 306 4 110 5 89 7 108 9 89 Trio (Pianoforte & strings), Op. 97 51 Trio (strings), Op. 9 ... 267 Bennett (W. Sterndale), Fan- tasia, Op. 16 ... 91, 366 Romance, Op. 14, No. 3 91 Rondeau a la Polonaise 238, 267 Rondo Piacevole, Op. 25 267 Sonata, Op. 13 91 Binary form 130 Cadence, Imperfect 6, 11 Cadence, Interrupted, Ex- amples of 52, 124, 155, 163, 164, 280, 281 Cadence, Inverted 9 Plagal (Coda) 273, &c. Cadenza (or Cadence) in Con- certo 368 Canon 132, 152, 218, 265, 306-309 (in Stretto) 318 ,, 3 in 1 358 Cantata 4 Chamber Music 200 Chopin 3 dementi, Sonata, Op, 40, No. 1., Canon from ... 308 Coda 5, 273, et seq. Examples from Mozart 200, 243, 244, 248, 283 Codetta 176, 212, 216, 273, 274, 284 Concertante 184, 201 Concerted music 183, 200 Concerto 4, 289, 367 Consequent 152, 155 Continuity, Movement of ... 4 Contrapuntal devices 305 Contrary Motion 153 Counter-exposition 341 Counterpoint, Double 133,179,317 ,, ,, Quintuple ... 283 Counter-subject 317 Couperin, Rondeaux by 219, et seq. Dance-measures 289 Development ... 5, 117, 203 ,, ,, Movement of ... 4 Diminution 133, 153, 187 Dominant, Second Subject in 15 Double Dominant 41 Duplex form 130 INDEX. 373 Dussek 3, 257 Consolation, La ... 257, 267 Elegy Sonata 257 Fantasia and Fugue in F minor 346 Sonata, Op. 35, No. 2 151, 256 ,, Op. 44 (Farewell) 107, 257 Op. 75 257 ,, Op. 77 (IS Invoca- tion) 257, 307 Enharmonic change 98, 99, 126, 127, 140, 262 Enharmonic notation ... 186 Implied 43, 50, 260, 261 Modulation 129, 139, 142, 146, 147, 165, 335 Entries in Fugue 359 Episode (in Movement) 207, 208, 229 ,, in Fugue 317, 329, 347 (Trio of Minuet) ... 290 Episodes, Movements with two 218, &c. Exposition 318 Counter- 341 False Relation, apparent ... Ill Fantasia 364 Fantasia, Free ... 5, 117, 118, 137, et scq. Figured Basses 10, 129, 238, 280 Figures, "Working of 12, 133, 144, 153, 171, 177, 179, 280 Fugue 313, etscq. Unexpected Entries in 330, 336, 337, 341, 359 Exceptional Answers in 345, et seq. How to analyze 319 Genius and mastery compared 3 Grammatical infringements by great Composers 113, 134, 257 Handel Chaconne with varia- tions 370 Fugue in B minor 337 Fugue in FJt minor 358 Jvdas Maccaboeus, Fugue from 359 Messiah, Overture 369 Suite No. 2 16 Passecaille with varia- tions 370 Messiah, "And With His Stripes " from 315 Haydn 130 Master of Rhythm 305 Minuets 290, 303 Quartets 305 in C 233 in D (a) 233 (6) 301 in D minor (a) 187 in , (6) 306 in Eb 184, et seq. in G 303 Sonatas, No. 5 (Pauer's Edition) in C... Sonatas, No. 6 in G 7 in E ,, ,, 10 in F 12inD 28, 232 232 291 232 232 13 in B minor 54, 82, 91, 127, 156 17 in D ... 158 19inG ... 232 20 in D ... 231 23 in G minor 56, 82, 91, 143, 144 24 in C ... 229 25inE ... 124 27 in C minor 57 28 in Ab 29 in Eb 30 in D 10, 81 . 30 i, 171, 232 r 57, 138 32 in Eb 31, 173, 210 33 in E minor 91 31inC|i 374 IXDEX. Haydn's Sonata, No. 34 in Eb 138, 210, 273 Higgs, Fugue Primer ... 317, 320 Hummel 3 Imitation ... 152, 153, 181, 182 Canonical 265 Imitational Structure and workings, 46, 133, 153, 158, 159, 160, 161, 165, 190-193, 198, 262, 294, 295 Intermezzo 212, 310 Introduction to Movements 97, et seq. Inverse Movement 133, 152, 187, 198, 335, 349-352 Inversion of parts 171,172,174, 283 Macfarren, G. A., Vocal Rondo 218 ,, ,, quoted ... 306 ,, on Bach's Fan- tasia Cromatiea 366 Mastery of resources 3 Mediant, Second Subject in 55, et seq., 151 Mendelssohn, Athalie March 268 Elijah, Overture 369 FantasiainF#minor,Op.28 365 Fugues, Op. 35, Nos. 2, 6 315 Fugue (Organ), Op. 37, No. 3 342 Organ Sonatas, Nos. 2, 4 360 Perpetuum Mobile 267 Eivulet, Op. 16 267 Scherzi 290 Symphony (Scotch) 76, 108, 283 Song without words, Book I. No. 5 90 Minuet 137, 289 Haydn's extension of ... 290 Second (or Trio) 290 Structure of 292 Minor Mode, Character of 71 Modes, Authentic and Plagal 316 Modification of Subject com- mencement in Fugue . . . 338 Modulation 129, 130, 137, 143, 147, 151, 165, 174 Motivi 12 Motive 263 Movement, Defined 3 ,, ,, of continuity or development ... 4, 219 Episodical 4, 207, 209, 219, 229, 232 Exceptional structure ... 363 Different forms 268 Sometimes coalesce 363 Movements, Slow ... 137, 210 Order of 137 Mozart, Duet in F ... 182, 250 Fantasia & Fugue (Piano- forte Duet) in F minor Minuet in D ,, in. Don Giovanni Nontemer Overtures, Don Giovanni } Figaro ... > Zaiuberflote } Quaitets, No. 1 , 2 4 331, 341 295 290 218 369 5 6 9 10 Quintets, No. 1 191, 315 189 208 ... 193 ... 110 ... 198 ,.. 303 ... 308 144, 200 Rondos (so-called) in Bb andD 219 Rondo in A minor 247 Sonatas, No. 1 (Pauer's Edition) in C 173 Sonatas, No. 2 in F ,, 3 in Bb 5 in G 6inD 7inC ... 33 ... 235 7, 119, 276 ... 239 19, 234, 276-7 8 in A minor 59, 82, 91, 124, 239 9 in D 122, 237 10 in C 211, 277 11 in A 238, 278 INDEX. 375 Mozart's Sonatas, continued Sonatas, No. 12 in F ... 119 ,, ,, 14 in C minor 60, 84, 128, 212, 239, 279, 291 No. 15 in F 153, 156, 242 16 in C 18, 79, 121 17inF 119 18 in Bb ... 35 ,, 19inD 213, 245 Symphonies (Breitkopf 'and Hdrtel), No. 36 in C ... 86 Symphonies, No. 39inEbl40, 141 40 in G minor 92, 145, 150 Symphonies, No. 41 in C (Jupiter) 283, 315 Nocturnes 209 Notation, Enharmonic ... 215 False instances of 66, 100, 126, 282, 283 Overture 369 Partita 15, 289 Pedal-Bass 222, 247, 265, 273, 279 Pedal-point 319 Phrase 7 Mode 316 Cadence 273, 274 Prout, Symphony in F 26, 27 Quartets (see Beethoven, Haydn, Mozart) 184 Quintuple Counterpoint ... 283 Rameau, Tambourin or Rondo by 222 Real answer 305,316 Recapitulation (in Movement) 5, 78, et seq. Relative Keys ... 149, et seq. Retrograde motion 153 Return to Subject 5, 256, 261 Rhythm 7, 45, 134 3 bar 167 5 bar 171, 303 Rhythm, 6 bar 176, 182, 183, 229 broken 134, 303 ,, overlapping 304 Rhythmical devices 293, 297-301 Rondel, Roundel, Roundelay 218 Rondo, Rondeau, Rondino, Rondoletto 218, 255 Term misapplied 219, 232, 267 Some Rondos not so-called 218 Vocal 218 Round 218 Roundels by Mr. Swinburne 203, 256 Scherzo 137, 290, 292 Schumann, Sonata, Op. 22 91 Second Part 5, 117, 118, 137, 172 Section 7 Sonata (or First Movement) form 4 Sonatina 5 Spohr, Quartets 184 Nonet 202 Stretto 155, 177, 279, 318 Subject 4 Divisions of 7 Episodical 119 First 5 Second 5, 15, 18, 41 In exceptional keys ... 43, 151 In Mediant .. 55 In Minor key ... 54, 71, et seq. In new aspects 117 Fugue and Sonata compared 314 Suite 15, 289 Superpositions in Fugue ... 325 Swinburne, Roundels by 203, 256 Symphony '. 4, 289 Syncopation 167 Tambourin 222 Tonal 305, 316 Transition 15 Trinary 218 Trio (of Minuet, &c.) 290 Triplex 218 Valse 209 376 Variations ... INDEX. . 369 Wr Weber, II Moto continue Polonaises (Polaccas) Sonata, Op. 49 ... . Op. 70 ... . Overtures ... . 267 . 218 . 91 . 91 . 369 ( ( I 1 Working (see Development) 5, 117, 131, 203 Canonical 265 Contrapuntal 133, 173, 262, 305 Fragmentary 293 Fugal, 160, 181, 183, 234, 305, 306 THE END. Richard Clay tt: Sons, Limited, London & Bungay. the 0ame JUithxrr. TEXT-BOOK OF MUSIC. Thirteenth Edition. 30th Thousand. "With Emendations and Additions. Fcap. 8vo. cloth. Price 5s. This Manual contains chapters on Notation, Harmony, and Counterpoint; Modulation, Rhythm, Canon, Fugue, Voices, and Instruments ; together with Exercises on Harmony, an Appendix of Examination Papers, and a copious Index and Glossary of Musical Terms. " . . . . We are bound to accord the highest praise to the work, which is so logically arranged throughout that reference to any special portion of it can be readily made. . . . We have a remarkably clear exposition of notation, time, accent, and other elementary matters unfortunately too often passed over by students. Especially must we praise the author's explanation of the difference between Simple and Compound Time, the widely-spread ignorance of which subject causes half the false emphasis we are compelled to listen to amongst amateurs." Musical Times, April, 1873. "A capital little work on the theory of music." Atherueum, August 4, 1883. " Mr. H. C. Banister's book on ' Music,' which is one of the best and most trustworthy I know." 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LONDON : GEORGE BELL AND SONS, YORK STREET, COVENT GARDEN. Kecond Edition with an additional Paper. MUSICAL AKT AND STUDY: PAPERS FOR MUSICIANS. Printed on Handmade Paper. Foolscap 8vo, cloth, 2^. No. I. OUR ART AND OUR PROFESSION. (Read before the National Society of Professional Musicians.) No. II. SOME METHODS OF MUSICAL STUDY. (Bead before the North- East London Society of Musicians.) No. III. SOME MUSICAL ETHICS AND ANALOGIES. (Read before the College of Organists.) No. IV. THE ENJOYMENT OF MUSIC. (Read before the College of Organists, June 28, 1887.) OPINIONS OF THE PRESS. " THE volume contains three papers, .... all of which exhibit a com- mendable desire to elevate the art in public estimation, and a keen perception as to the best method of effecting this object. We cordially commend both Mr. Banister's works as most valuable aids to the true appreciation of the imperishable creations of musical art." Musical Times, August 1, 1887. " The book is full of material for thought, and should be widely read." Musical Standard, October 27, 1887. "The essays here given .... give evidence of a happy union of general culture with musical knowledge a union made especially apparent, and with happy effect, in the last of the three, dealing with certain peculiarities possessed in common by music with other arts, and even with certain moral qualities. . . . For the rest, acknowledgment should not be omitted of the useful hints and suggestive remarks to be found in these lectures, and of the high views advanced by then- author regarding the mission and possibilities of music. . . ." Musical World, July 7, 1887. " These delightful ' papers for musicians ' . . . were delivered to differ- ent audiences. . . . We can, however, well believe that those who heard them would be desirous to see them in a collected and permanent form. The obiter dicta of Professor Banister on musical topics are, indeed, well worth preserving, and it is to men of a kindred spirit with the writer of these essays that the musical profession must look if it would be saved from narrow and bigoted views of music as an art. ... As an example of the happy manner and delightful style in which these thoughtful and suggestive papers are written, we will quote the following remarks upon those whose due appreciation of music is narrowed by want of musical knowledge. ... To the learned contrapuntist who has become the slave of his art, and the musical amateur who is technically unlearned, these papers appeal alike, while to the general reader they will be welcome because of their general literary merits and 'words that glow and thoughts that speak.' " Musical Society, October 1, 1887. "Good thoughts neatly expressed." Academy, September 3, 1887. " They all well repay reading, but for teachers and students the second will have most interest. 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