Wolfgang Amadeus Mozart and Franz Joseph Haydn

Musical Form, in its truest essence, is the organization of phrases, key changes, harmony, repetition, and rhythm within compositions. Many poets use the ABCA format to distinguish between rhymes schemes. In the same sense, music can be categorized into larger, more grand sections, and then further elaborated by delving into subsections of the larger A or B schemes. Just like in poetry, there are many types of form. and each one varies based off of how the composers chose to write their works, the type of ensemble they were writing for, and what type of piece they are choosing to compose.

Throughout this project, we will take a deeper look into the minds of two of the 18th centuries’ most brilliant musical minds: Wolfgang Amadeus Mozart, and Franz Joseph Haydn. However, before the compositions are analyzed, the two most basic types of musical form must be elaborated on. Using what is called Binary form (two part) and Ternary form (three part) the building blocks of movements can be graphed or labeled.

Getting to the basics, will also help with the understanding of other forms such as Theme and Variations, Sonata Allegro, and smaller sections of other types of form within a larger type of form.

Binary Form, or two part form often has two main sections, and much like in prose, they are labeled the “A” section and the “B” section. Both of these sections are repeated. There are five types of the Binary Form: Sectional, Continuous, Simple, Rounded, and Balanced.

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They are labeled according to their harmonic structure and thematic design. If the first half ends on the tonic, then it is sectional. Or, if it ends on a half cadence, modulates, or tonicizes a harmony other than the tonic, the binary type is continuous. Also, if the thematic design of the second half: Contrasts with the first half, the binary type is simple. (A B); varies or develops material from the first half, the binary type is also simple (A A’); or if it brings back melodic material from phrase one of section A in the last phrase, it is considered rounded. ( A B A’); If it brings back motifs or rhythmic/melodic lines from the end of the first half, the two sections are balanced. (A *melodic line B *melodic line).

Within the Ternary Form, it is comprised of three sections. The first section, the “A” section, usually begins and ends on the tonic, with a conclusive cadence, such as a perfect authentic cadence, at the end of the section. The second, or “B” section is normally in a contrasting key, usually closely related. It often contrasts with the “A” section in at least one way other than motives, texture, harmonic complexity, or other features. The third section “A” may be repeated exactly as as the first “A” section, or be somewhat varied, which would be considered “A Prime” or A’. In all cases the return of the “A” section begins and ends within the tonic key. When the B section ends inconclusively, with either an inconclusive cadence or by tagging without a stop to the return of the “A” section, the form is said to be continuous. There cannot be only a B section, it must return to the “A” section to reach the harmonic conclusion and resolve that the form is seeking.

With the understanding of the binary and ternary form, we can begin to understand much larger and more complex forms within movements, such as the Sonata Allegro Form and the Theme and Variations Form. The Sonata Allegro Form, utilized by Mozart and many other composers, can be used, usually within the first movement of symphonies and quartets. There are three sections: The Exposition, the Development, and the Recapitulation, or recap for short. During the exposition, This is where we might have an intro, before moving into the Exposition section. Instead of “a” or “b”, the composer now uses themes, e.g. “Theme 1” or “Theme 2.” These themes take the place of the “A” or “B” sections. If the piece begins in a major key, then theme one will begin in the tonic key and transition from theme one to theme two on the dominant key. There is also the possibility of a cadenza in a concerto. The exposition is usually repeated. After the exposition, the development section begins. Here, we will have developments from the exposition, either motive or melodic lines, usually in a multi key structure. Next, the recapitulation section is presented with another thematic entrance, and usually starts and ends on the tonic chord of the tonic key. There can also be a Coda section, which is a tag of an ending section in the recapitulation.

Mozart’s first movement of the String Quartet in G major, K. 387, is graphed in the Sonata Allegro Form. There are two main themes within the Exposition and both are heavily articulated by varying dynamic contrasts between loud and soft with motifs that move in small chromatic steps. This provides meaning to the theme, and the artistry to the string quartet. With a solid theme repeated throughout the violin’s melodic lines and a moving bass within the violoncello. The exposition moves from theme one in the tonic key, to the dominant of the tonic key in theme two, and then it is repeated. The development of movement one runs through multiple keys and builds off of the main theme by variating it slightly. It is also slower in tempo than in the exposition. While it possesses a warmly lyrical melodic and harmonic motif, the texture also varies. Mozart begins to lengthen the phrases, and shows his talents as a musician by doing so. To be heard, there is not a stiffness or formality of the rhetorical cadences.

The second movement, has been graphed as a minuet. This movement does not rely on the triple meter feel of this particular dance. Instead, during the beginning of the movement, the accompaniment has chords on the third beats instead of the common downbeat. The violin begins to showcase the chromatic runs with strong accents on every other beat which varies completely from the main recurring theme. With the entrance of the light mood, there comes contrast. The trio begins in the relative minor key, and is more rigid in it’s movements.

After the dance theme of the minuet and trio, we finally have the slower movement. This was considered extraordinary even for Mozart. This almost sounds like a dark lament or an aria. While there is a lot of counterpoint going on within the harmony and melody, there is darker, more dissonant chromaticism and notation. Enter: the violin. This reflects much in the lower registers, and sometimes and begins to pass into higher registers almost too delicately. The intimate feel of Mozart’s intentions can be felt as this movement comes to a close.

Of the final movement, it is its own masterpiece. In the beginning, there is a lot of the imitation, mock fugue like within the four part counterpoint. The safe theme, the smooth five note motif, and as each new voice joins the fray, there are syncopations and suspensions. When the cello comes in, there is a similar fugal like form and then other instruments repeat this. In a ending filled with celebration and joy, there is counterpoint spread throughout the ending as it ends of the unlikely, yet simple conclusion.

After learning from Bach, after meeting Haydn for the first time, and after hearing landmark quartets, Mozart began to write for the string quartet once again. Mozart had a deep respect and was inspired by the aforementioned composers, he became motivated and worked hard based off of his respect for his teacher and friend, rather than become motivated by patronage for commission. During the next two years, he would dedicate the next six quartets to Haydn. The aptly named “Haydn Quartets” are the most famous and well known. As a musician, Mozart exhibited sheer brilliance and a talent for musicianship. The quartets for Haydn list an importance as musicality at its finest. Together, the twelve quartets of Mozart and Haydn combined comprise the first great accomplishment of Viennese Classical chamber music. The most impressive and well known of these quartets is the String Quartet in G major, K. 387.

The next piece we will analyze is Haydn’s Symphony No. 94 in G Major. The piece has four movements and it so happens that the first movement was written in the wrong key – off setting the surprise to begin with. It opens within the sonata allegro form and a more lively mood with contrasting melodies within the introduction. In the first four bars, the woodwinds have a two bar motif, with the similar two bar motif in the strings on a lower pitch.Then, a game of call and response begins. As the exposition section begins, theme one is introduced which begins within the tonic key. However, Haydn was also known to start theme one in another new key entirely. Theme two then begins in the dominant key. It is heavily embellished with chromatically ascending eighth note runs in the violins. Next, a countersubject in the bass strings closes on the dominant seventh chord.After an interval, comes the main theme at last, changing from ¾ to 6/8 time, with an oboe as its countersubject. Between the themes, are bridges of triad fragmentations.The theme leads into D major, the new key of the second theme.

For the second theme a cadenza is introduced in 6/8 time from the tonic to the dominant and is continuous for the measures 67-80 ending on scalar motifs. The theme of the closing group is within the first violins with an upbeat and contains seven bars. This is followed by a two bar motif and is consecutively played twice for a short cadenza. The woodwinds are also included within the continuous repetition.