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Example I. Melodic indirection on the gestural level. Mozart's embellishments for K.457, second movement: a) b. |; b) b. 4; c) b. 17; d) b. 41; and e) b. 44.

Figure 1 Example I. Melodic indirection on the gestural level. Mozart's embellishments for K.457, second movement: a) b. |; b) b. 4; c) b. 17; d) b. 41; and e) b. 44.

Related Figures (14)

Example 2. Mozart's embellishments for J.C. Bach, ‘Cara, la dolce fiamma’: a) bb. 33-4; and b) b. 43
Example 2. Mozart's embellishments for J.C. Bach, ‘Cara, la dolce fiamma’: a) bb. 33-4; and b) b. 43
Example 3. Mozart’s embellishments for Lucio Silla, ‘Ah, se a morir mi chiama’, bb. 8-9 and 89-90
Example 3. Mozart’s embellishments for Lucio Silla, ‘Ah, se a morir mi chiama’, bb. 8-9 and 89-90
Example 4. Mozart’s embellishments for ‘Ah, se a morir mi chiama’, bb. 30, 34, 48 and 55
Example 4. Mozart’s embellishments for ‘Ah, se a morir mi chiama’, bb. 30, 34, 48 and 55
Example 5. Mozart’s embellishments for K.294, bb. 17, 43 and 55-6.
Example 5. Mozart’s embellishments for K.294, bb. 17, 43 and 55-6.
Example 7. Mozart's appoggiaturas: a) ‘Ah, se a morir mi chiama’, bb. 10-11; and 7b) K.294, bb. 19-22 themselves in the straightforward alteration of repeated notes on strong p bles. Although that is sometimes Mozart’s strategy, he also accomplishes t rosodic sylla- he same goal using more complex means, such as with elaborate trill or grace-note gestures (Example 7a). In addition, Mozart routinely alters the duration of notes comprising appoggiatura; thus, a gesture consisting of two crotchets might be embel quavers, or a quaver followed by a crotchet (Example 7b; see also Examp may have expected similar techniques to be used throughout his instrumen’ in any passage that explicitly imitates vocal genres. One example is the recitative-like section in the first movement of the Violin Concerto K.216 in which the insertion of appoggiaturas should most likely involve not only D> tal concer the alterat the ished as two le 3). Mozart tos, accompanied bars 147-51), ion of pitches but also some rhythmic adjustment. As with the issue of doubled melodies dis- cussed earlier, this is a straightforward case in which the practical questions facing per- formers of Mozart’s instrumental works can be answered by considering his operatic embellishment models. a ey en : i, i: rr i. ee ey i Py es ee oc er oe Pe a: ae cee
Example 7. Mozart's appoggiaturas: a) ‘Ah, se a morir mi chiama’, bb. 10-11; and 7b) K.294, bb. 19-22 themselves in the straightforward alteration of repeated notes on strong p bles. Although that is sometimes Mozart’s strategy, he also accomplishes t rosodic sylla- he same goal using more complex means, such as with elaborate trill or grace-note gestures (Example 7a). In addition, Mozart routinely alters the duration of notes comprising appoggiatura; thus, a gesture consisting of two crotchets might be embel quavers, or a quaver followed by a crotchet (Example 7b; see also Examp may have expected similar techniques to be used throughout his instrumen’ in any passage that explicitly imitates vocal genres. One example is the recitative-like section in the first movement of the Violin Concerto K.216 in which the insertion of appoggiaturas should most likely involve not only D> tal concer the alterat the ished as two le 3). Mozart tos, accompanied bars 147-51), ion of pitches but also some rhythmic adjustment. As with the issue of doubled melodies dis- cussed earlier, this is a straightforward case in which the practical questions facing per- formers of Mozart’s instrumental works can be answered by considering his operatic embellishment models. a ey en : i, i: rr i. ee ey i Py es ee oc er oe Pe a: ae cee
Example 8. ‘Ah, se a morir mi chiama’, bb. 22-3 and 103-4.
Example 8. ‘Ah, se a morir mi chiama’, bb. 22-3 and 103-4.
the keyboard embellishments, these indicate a kind of written-out rubato and contribute little to the overall expressive scope of each phrase (Example 10b). By contrast, the dynamic embellishments in K.294, which occur during an extended chromatic melisma, show Mozart’s vocal writing at its most charged. The passage’s expressive force arises not only from the musical content but also from the deep physicality of the performed gestures, particularly the rapid changes to air-speed required in order for the soprano to bring out the dynamic emphases, and which amplify the ‘tenero affetto’ of the aria’s text. As before, such passages show Mozart moving away from the more straightforward conception of virtuosity associated with embellishment, which might manifest itself in the addition of elaborate coloratura passagework, instead exploring expressive devices involving phrasing and tone colour.
the keyboard embellishments, these indicate a kind of written-out rubato and contribute little to the overall expressive scope of each phrase (Example 10b). By contrast, the dynamic embellishments in K.294, which occur during an extended chromatic melisma, show Mozart’s vocal writing at its most charged. The passage’s expressive force arises not only from the musical content but also from the deep physicality of the performed gestures, particularly the rapid changes to air-speed required in order for the soprano to bring out the dynamic emphases, and which amplify the ‘tenero affetto’ of the aria’s text. As before, such passages show Mozart moving away from the more straightforward conception of virtuosity associated with embellishment, which might manifest itself in the addition of elaborate coloratura passagework, instead exploring expressive devices involving phrasing and tone colour.
Example 10. Dynamics in Mozart’s embellishments: a) K.294, bb. 58 and 68-9; and b) K.457, second movement, b. 21.
Example 10. Dynamics in Mozart’s embellishments: a) K.294, bb. 58 and 68-9; and b) K.457, second movement, b. 21.
Example II. Progressive elaboration in Mozart’s operatic melodies, organised chronologically: a) Mitridate, no. 16, bb. 4-5 and 8-9; b) Ascanio in Alba, no. 23, bb. 66—9 and 71-4; c) Idomeneo, no. 6, bb. |5—18; d) Le nozze di Figaro, no. 6, bb. 9-13; e) Don Giovanni, no. 12, bb. 1-3 and 36-9; and f) Die Zauberflote, Act Il, Finale, bb. 278-9 and 282-3.
Example II. Progressive elaboration in Mozart’s operatic melodies, organised chronologically: a) Mitridate, no. 16, bb. 4-5 and 8-9; b) Ascanio in Alba, no. 23, bb. 66—9 and 71-4; c) Idomeneo, no. 6, bb. |5—18; d) Le nozze di Figaro, no. 6, bb. 9-13; e) Don Giovanni, no. 12, bb. 1-3 and 36-9; and f) Die Zauberflote, Act Il, Finale, bb. 278-9 and 282-3.
Example 12. Cosi fan tutte, no. 25, bb. 22-3 and 23-4.
Example 12. Cosi fan tutte, no. 25, bb. 22-3 and 23-4.
Example 13. Mozart’s embellishment figures across the genres: a) Die Schuldigkeit des ersten Gebots, no. 4, bb. 91—2; b) Cantata K.429 [fragment], second movement, bb. 25-8; and c) La clemenza di Tito, no. 16, bb. 35-8.
Example 13. Mozart’s embellishment figures across the genres: a) Die Schuldigkeit des ersten Gebots, no. 4, bb. 91—2; b) Cantata K.429 [fragment], second movement, bb. 25-8; and c) La clemenza di Tito, no. 16, bb. 35-8.
Example 14. Embellishing Fiordiligi’s rondo with a gesture from K.457.
Example 14. Embellishing Fiordiligi’s rondo with a gesture from K.457.
Example 15. Embellishments in Mozart’s operatic ensembles: a) Le nozze di Figaro, no. 21, bb. 45-9 and 50-5; b) Don Giovanni, no. 9, bb. 6-7 and |14—15; and c) Cosi fan tutte, no. 29, bb. 121-4 and 126-9.
Example 15. Embellishments in Mozart’s operatic ensembles: a) Le nozze di Figaro, no. 21, bb. 45-9 and 50-5; b) Don Giovanni, no. 9, bb. 6-7 and |14—15; and c) Cosi fan tutte, no. 29, bb. 121-4 and 126-9.
Example 16. Embellishments for the 1789 production of Le nozze di Figaro, no. 28a: a) bb. |-2 and 33-5; b) bb. 12— 13 and 14-15; and c) bb. 21-3.
Example 16. Embellishments for the 1789 production of Le nozze di Figaro, no. 28a: a) bb. |-2 and 33-5; b) bb. 12— 13 and 14-15; and c) bb. 21-3.
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