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Stylistic Evolution in Mozart's Symphonic Slow
Movements: The Discursive-Passionate Schema
(A Narrative Approach)1
Marta Grabocz
Translated for Integral from French text into English by John Koslovsky (with
thanks to Peter Franck, Kelly Francis, and Ben Wadsworth for many helpful
suggestions). All quotes are translated into English, but their citation is left in the
original language.
2 (The editors wish to thank Prof. Robert Hatten for the suggested translation of
"pattern? as "emotional seme/']
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106 Integral
According to Georg
of stylemes expressing
content can only be,
view within a partic
For Molinie, style
together at least tw
"stylemes link elem
correlation), the tw
on the one hand,
represent them on the other hand."5 The "literariness"
[litte'raritey musicrfiity is understood as the interaction of stylemes
with one another: thus, a concatenation of stylemes and their
possible hierarchical status defines a style.6
If we try to establish a correspondence between the three
classes of styleme of Moline and the musical world, we can propose
the following concordances:
1. The first class, stylemes of general literarity> e.g., elements of the
"romanesque" or "commercial." In music, this would be "classical"
music, jazz, or contemporary music (in addition to different
varieties).
2. The second class is generic literarity, linked to main genres of
literature (narrative, lyrical, theatrical, etc.). In music, we could
think of genres such as vocal music of the Renaissance (along with
its sub-genres of motet and mass); opera and instrumental music
from the Baroque to the 20th century; different solo genres;
chamber music; electroacoutic and computer genres of music, etc.
3. The third class of stylemes is singular literarity; or, the actual
characteristics of literarity. In music, its definition would probably
vary according to the musical period. Thus, in the classical style, the
topic would have to correspond to the length of the musical
phrase, (that is, to the themes). In terms of stylistic correlation,
these stylemes would correspond to that which proper musicology
considers topics [topiaues]. Their typology and classification is well
3 Molinie 1994, 205. ["Stylem is a more general instance of "topic." The latter will
be used throughout this article only within specifically musical contexts - ed]
4 Molinie 1995, 9.
5 Molinie 1994, 204.
6 Cf. Molinie 1995, 9 and 1994, 204.
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Stylistic Evolution in Mozart 107
7 For the definition of topics, see for example Robert Hatten's glossary in Hatten
1994, 295; see also Ratner 1980, 9; Monelle 2000, 80 and 2006.
8 Szabolcsi 1965 and 1975.
9 Mattheson 1739; Hatten 1994.
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108 Integral
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Stylistic Evolution in Mozart 109
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110 Integral
oboe, horn); 2) th
Andante in 6/8; 3)
Adagio ma non trop
Andante in 3/8; 5)
in 6/8. The presen
virtually all the
exception of K.314
Topic 1: Princip
p ^^^^^^
B"'*^' *%Wt^*^ "^^~3p P4^? ^^^tP ^i^3^^?^ ^^^^^3" t ir^ ^t^i^^^^^^^^5^j^^ j^j^^^^^4^^!"
p - . - ^ _^
VMomrlloeBasu, ['^ * fl T T T | J
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Stylistic Evolution in Mozart 111
Aadaate
/ n
^^y/^l uEtlX^l^
vwa^/t
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112 Integral
/^
2Cor*imScl A. II w I r , I ir , I
/ *
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Stylistic Evolution in Mozart 113
^*B
/
Jytf^'[jl[Tflj'P1Tl
p f
march motive
/ * /
/ p /
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114 Integral
Example 2 b. Sym
transition from th
fp fi>
fp fp p
fp fp p
BffBH ^ *y ^
^ fp p
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Stylistic Evolution in Mozart 115
it
7 mn . -- ~->^
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116 Integral
Many elements
accompanying this
"the march" are
representing the m
series of motives an
Schweizer,18 from
(BWV 159), terror
tumult (BWV 80), j
tranquility. Andre
identifies many
corresponding to
\progression] (^auff
presents this figur
motive therefore us
to the subsequent d
In summary, the m
(K.314, K.504), tran
almost all of the wo
18 Schweitzer 1905.
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Stylistic Evolution in Mozart 117
p p
<
/p / p pp "**
fp ' / p t w y
/ p f p pp
Example 3
transitio
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118 Jtf/?gra/
/ i / p
/ / f p
21 Ujfalussy 1961.
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Stylistic Evolution in Mozart 119
...
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120 Integral
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Stylistic Evolution in Mozart 121
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122 Integral
mediant section,
passionate schema" [
and Fontanille in Se
discursive canoni
action or the passi
this term to desig
passes from an ini
introducing a new
S2). After this jou
we return to a mod
in our case, a modif
In speaking about
subject,25 Greimas
does not behave dif
it takes the form o
transforms the pa
signification succe
to a
dialectical syn
mode of generatin
equally valid for t
A category can
contradictions, con
setting the category
One detects th
signification and o
the 2nd movement
As I have suggest
carries a signifie
oppositions (contra
climax, the magis
24 For an explanation
signification (i.e., the
25 Greimas and Fontan
26 Ibid., 54.
27 Ibid., 42.
28 Ibid, 42.
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Stylistic Evolution in Mozart 123
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124 Integral
H"l - I 111
i ? I fill
I
JHH .o
.o ^ ^5 f66 if
c/>
c/> -
^ Q 2 g.
-o MS
t,
I
* 5 l! lit -
I
o b2^.
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Stylistic Evolution in Mozart 125
1 ill
^ s o ill ic?
3 a.
}
I S3 *a- -8
5 o i
1
|
I
a,
I A
-- s f ll
.. 6
n -S A jf -
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126 Integral
ill i t I rm
1 I J- |}i
i
I
H-i 3 * I - .ill
1 I ^ 8^
rf s m -a
1 i -1 S,
m.g
SI
1
! 1 4 | 1 1
I ? ^" IS
1 I 1 1 1 8, 1
Oh
<* + | go
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Stylistic Evolution in Mozart 127
Exposition:
T,.T2
("pastoral")
(precision, balance) Endfn{, ^ />; ,,,,
dereloptnttrt
gj
Recapitulation: despair)
Dnderlining of *\ l k N. / k L
TT' X4 \l /
(see orchestration) \/ 9
S2 SI
Ending fftbe bridge " in fix
denhpmtnt " Development:
("consolation", "Minor" versions of T,
appeasement of tension of (sadness, renouncement)
the exclamation)
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128 Integral
References
Agawu, Kofi. 1991. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton,
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Stylistic Evolution in Mozart 129
Monelle, Raymond. 2000. The Sense of Music. New Jersey: Princeton University
Press.
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