Cyclic Integration in the Instrumental Music of Haydn and Mozart

Abstract

Cyclic integration - the manner in which movements of a multi-movement cycle relate to one another - is a compositional device generally associated with music written from the nineteenth century onward, beginning with the works of Beethoven. It is most commonly perceived to be based primarily (if not exclusively) on thematic resemblances. The use of Beethoven's works as a standard for evaluating the practices of other composers, and the limited number of compositions by Haydn and Mozart including thematic resemblances, have combined to create the perception that Haydn and Mozart ignored cyclic integration in the majority of their works. This dissertation argues for a broader conception of cyclic integration in the music of Haydn and Mozart by viewing it as a compositional device that can extend beyond thematic ideas to incorporate a variety of possible elements. These include harmony, texture, form, phrase structure, musical topics, rhythm, articulation, and other musical elements. An analysis of Mozart's String Quartet in A major, K. 464, serves as a case study in demonstrating a methodology for eighteenth-century cyclic integration. A broad survey of their practices from c. 1770-c. 1800 evaluates the extent of their use of cyclic integration as a compositional device. The results of this survey indicate that Haydn and Mozart reserve their strongest connections for symphonies and string quartets, and that their practices changed over the course of time.

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