motivic unity and transformation in mozart's d minor piano concerto (k. 466)
DESCRIPTION
A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music, School of Music, College of Fine Arts, University of South Florida, December 1996.ABSTRACT: A significant modification in Mozart's compositional style occurs during his years in Vienna (1783-1788). This change takes place most notably in his piano concertos and is reflected in a shift from a melodic style of writing to a more motivic mode of treatment. Denis Forman, author of _Mozart's Concerto Form_, refers to this style of composition as Mozart's "symphonic form." It is the last four Symphonic piano concertos (K. 466, K. 467, K. 491, and K. 503) that depart the most from the typical forms of the composer's earlier works. This study focuses on the D minor piano concerto (K. 466), which is representative of Mozart's symphonic form. The Symphonic concertos are ordinarily regarded as being fragmented in style and filled with sharp contrast and opposition throughout. Existing discussions concerning motivic unity within these works are incomplete, primarily descriptive, and generally confined to individual movements. The analytical approaches of Rudolph Reti and Arnold Schoenberg form the basis of the analytical approach used in this study. A motivic analysis reveals that the use of repetition and transformation of short motivic patterns occurs on the surface as well as through underlying relationships of pitches and intervals. A prevailing unity is experienced and perceived when motives are transformed into modified units and connected within each theme, between the themes within each movement, and between the themes of separate movements of this concerto.TRANSCRIPT
