Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions

Roger Kamien · Naphtali Wagner

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Musicology and Musical Analysis Diverse Music Education Insights Literature, Musicology, and Cultural Analysis

Abstract

Bridge sections by Mozart often include a quasi-thematic episode beginning on minor V, ♭III, or VI that leads to an augmented-sixth chord ushering in the V of V. Though strikingly individual and contrasting, such episodes are transitional in function and do not undermine the tonal polarity characteristic of classical sonata form. This article shows how bridge themes from K. 467/I, 482/I, 504/II, and 464/I are integrated within long-range chromaticized voice exchanges. These bridge themes often derive from the opening theme and introduce motivic and chromatic elements which pave the way for later events.

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References

1993Mozart: The 'Jupiter' Symphony 1981: Free Composition (Der Freie Satz): Vol. III of New Musical Theories and Fantasies . Heinrich Schenker, Ernst Oster.1989The Bifocal Close and the Evolution of the Viennese Classical Style 1983The First Movement of Brahms's Second Symphony: The Opening Theme and Its Consequences 1993Mozart, the "Jupiter" symphony, no. 41 in C major, K. 551

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2014Schumann’s Continuous Expositions and the Classical Tradition 2013Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata 2009On Voice Exchanges

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