The Mey er along with notes on the Jupiter, Pastorella, and Aprile

Transcription

1 9 The Me er along with notes on the Jpiter, Pastorella, and Aprile Giacomo Trit to bega n his Scola di contrappnto [The School of Conterpoint] b citing his pedigree. He had stdied nder the direction of the renowned maestro Signore Pasqale Cafaro, who was a stdent of the celebrated Signore Leonardo Leo. This pedigree, which was impeccable b eighteenth-centr standards, meant that he had received a pre form of the largel oral tradition of instrction. Indeed, Tritto s own book contains more pages of partimenti than pages of verbal explanation. When Tritto began one of his partimenti semplici as follows, he was making a clear reference to part of that tradition: 2 ex. 9. Tritto, from his Scola di contrappnto (Naples, ca. 8)? 2 w w nw w Other insiders wold have recognized the reference as pointing toward the tpe of opening phrase shown in example 9.2 (the bass is Tritto s, the pper parts are mine). I srveed the histor of that small bt highl characteristic tradition in A Classic Trn of Phrase, a std inspired b one of m own renowned maestros, Leonard B. Meer (98 ). He had identified a msical archetpe that featred a melodic contor resembling the msical trn sign, T, which he termed the changing-note archetpe. 4 The Tritto partimento

2 2 msic in the galant stle ex. 9.2 Tritto, from his Scola di contrappnto (Naples, ca. 8) 2 E E n E E. E n E E.? 2 w w nw w has this shape in the bass and, in an abstract form, the reverse contor in the melodic dads that close each half of m realization (C5 B 4 and F4 Eb4 descend following the ascents C D and B 2 C in the bass). In terms of the schemata discssed in previos chapters, the coordinated moves b the dads in the melod and bass associate Tritto s pattern with the schemata for the Fonte and Monte. Bt whereas those schemata are tonall mobile, this schema is tonall stable, which ma explain wh it was a preferred choice for important themes. I now call this schema the Meer, after the scholar who first drew attention to its importance. 5 In the diagram below, the words open and closed refer to the ancient terms still common in the eighteenth centr for msical phrase endings that, respectivel, lack and possess a sense of finalit or closre: Open Closed Weak Strong { Weak x Strong 5 k 5 p 5 figre 9. A schema of the Meer as open and closed pairs of events

3 Chapter 9 the meer Examples of this schema become ver common b the 750s and 70s. Here is one from a smphon that Hadn wrote in 77: ex. 9. Hadn, Smphon in Bb (Hob. I:5), mvt., Allegro di molto, m. 7 (77) b b J. Ẋ Ẋ { n 4. J. nẋ Ẋ.? b b 4 n 7 k v x p Hadn, recentl promoted from assistant chapel master to chapel master b the Prince of Esterház, provided a sprightl if nonetheless conventional theme whose drmlike bass was ver mch in voge. Dittersdorf, who not long before had scceeded Hadn s brother Michael as chapel master to the bishop of Grosswardein, had penned a ver similar theme the previos ear: ex. 9.4 Dittersdorf, Smphon in C (K. ), mvt., Allegro moderato, m. (7)? 4 4 ❶ E n ❶ E 2 ❼ ❹ ❹ ❸ E E 5 In Hadn s theme the melodic ❹ ❸ of measres 9 20 sonds a fifth lower than the initial ❶ ❼ of measres 7 8, whereas in Dittersdorf s theme it is plaed above. An indifference toward the register of the ❹ ❸ is a common characteristic of this schema. Its second half answers its first half, bt the exact register of the melod is of small significance. This simple, strd scaffold cold spport a nmber of sbsidiar patterns. For instance, Carl Heinrich Gran (70/4 759), chapel master at the cort of Frederick the

4 4 msic in the galant stle Great in Berlin, embedded a two-measre Prinner within a for-measre Meer in sch a wa that both schemata come together to close on the same fa mi in the melod (❹ ❸, heralded b a High ❷ Drop): ex. 9.5 C. Gran, Trio Sonata, mvt. 2, Adagio, m. (ca. 750)? ❶ 4 J. Ẋ Ẋ «4 a 5 ❼ meer ❻ Prinner ❺ ❹ 4 2 ❷ ❹ 7 ❸ ❸ If a Prinner can be embedded within a Meer, so can a Meer be embedded within a Prinner. The la-to-sol florish marked on example 9. was an ornamental motif closel associated with Prinners. We will enconter it again in the works of Mozart: # # #? # ex. 9. Hadn, Smphon in D (Hob. I:7, La chasse ), mvt., Allegro, m. 27 (ca. 78) Prinner ❻ ❺ la-to-sol florish 4 ẊẊẊ E k a. J ẊẊ k a 4 a a a a a ❶ ❹ ❸ 4 2 ❼ meer ❹ 5 ❸

5 Chapter 9 the meer 5 As a final instance of a Meer in combination with another schema, example 9.7 shows a large Fonte b Wodiczka. Each of the Fonte s two sections presents a Meer, and the second half of each Meer featres the Prinner melod above a cadential bass (cf. Castrcci, ex..5). Becase both parts of the Fonte modlate from the preceding G maor to D minor, and then from D minor to C maor the first stage of each Meer involves sbdominant rather than tonic harmonies. This passage is nsall complex for Wodiczka. Sch pilings p of schemata became rare after the 740s, retrning onl in the 780s with an freqenc. ex. 9.7 Wodiczka, Ops, no., mvt. 2, m. 8 (79) 8 x x meer meer x x { { prinner prinner z x 4 # a b x J ẊẊ Ẋ Ẋ z { { b «. a J Ẋ Ẋ ẊẊ? 4 { { b o minor fonte maor m m cadence cadence m The flid mixing and matching of schemata wold seem to exemplif perfectl the ars combinatoria. As mentioned earlier, this was a philosophical tradition cited b Riepel and other eighteenth-centr msicians. Yet paradoxicall these same writers seem loath to ascribe more than one pattern to each moment of msic. In describing eighteenth-centr scientific and philosophical writers those in his classical episteme Michel Focalt observed that the believed words... are a constittion and evident manifestation of the order of things. 7 For Riepel, terms like Fonte, Monte, and Ponte seem to have signified nities that cold no more be blended than cold the words themselves. Riepel s position is not nsal. Even toda most people do not think of the word arm as existing within the word harm, or harm within harmon. The meanings are too divergent. People do, of corse, recognize that harm is a constitent of words like nharmed or harmless, and eighteenth-centr writers on msic cold certainl describe patterns as having msi-

6 msic in the galant stle cal prefixes, sffixes, or other modifications. Bt the inabilit of Riepel and others to separate a schema s imagined essence from its composite constrction or its overlapping deploment meant that a Monte wold alwas be a nitar schema and never something contained in or containing something else. So the rich ars combinatoria of professional compositional practice fond its onl verbal explanation in the description of simple seqences of independent figres. In place of describing an ars combinatoria that incldes nesting, blending, reference, and allsion, eighteenth-centr writers described parlor games in which a fixed set of msical fragments cold be placed in a simple series governed b the laws of chance. 8 It was left to the nonverbal traditions of partimenti, solfeggi, and actal composition to demonstrate the richer possibilities of the art. The Jpiter Mozart begins the final movement of his last smphon, known to later generations as the Jpiter, with a melodic motto of for whole notes, C5 D5 F5 E5. He then pairs this opening gambit with a standard Prinner riposte: ex. 9.8 Mozart, Smphon in C (KV55, Jpiter ), mvt. 4, Molto allegro, m. (788) 5? 2 w v x w w w 2? m o prinner piter half cadence z E. # n x v D w w D m k

7 Chapter 9 the meer 7 What I and man others call the Jpiter motto, which itself had an extensive histor prior to Mozart s se of it, 9 fits ver well into a nmber of contrapntal combinations. In the example above, Mozart matched it with the bass of a deceptive cadence. In example 9.9, which is the contination of example 9.8, he changed the bass to 5 5 and added an pper voice to create a pair of 7 sspensions (in relation to the Jpiter motto): ex. 9.9 Mozart, Smphon in C (KV55, Jpiter ), mvt. 4, Molto allegro, m. 9 (788) 9? 2 D E E 7 - E D E E 7 - E w w wx w 2 E a E v E E piter Extensive training in fgal partimenti and imitative solfeggi helped an aspiring composer to master a repertor of these stock contrapntal combinations. The frits of this training were most clearl evident in sacred msic, especiall in Amen fges and the like. It is a characteristic of Mozart s late stle that he took these techniqes of conterpoint favored in sacred genres and developed them in genres associated with the cort chamber or theater. The Pastorella Lerner and Loewe s 90 msical Camelot featred actor Richard Brton, in the role of King Arthr, singing the qestion What do the simple folk do? Among the real kings and cortiers of Erope the qestion seems to have been of perennial interest. Eighteenth- centr answers, as represented b paintings, ballets, and operas, appear ever bit as contrived as that scene in Camelot. The shepherds and shepherdesses of ordinar rral life became conflated with mthical Arcadian figres like Pan or Orphes to represent an eternal tpe of natral person ntoched b the stresses and temptations of cort or rban life. Perhaps the ltimate case of the imagined pastoral was the constrction for Marie Antoinette of a ferme ornée ( ornamental farm ) known as the Hamea de la Reine (78), a complete fax village where the qeen cold pose as a milkmaid. A contemporar treatise on gardens (77) commented that an ornamental farm shold annonce itself b its

8 8 msic in the galant stle contr air, careless and withot pretension; like a naive shepherdess withot gile whose simplicit wold be her onl ornament. 0 The msical depiction of the pastoral was itself a rich tradition not limited to the literall rstic. Among the man was to depict in sond a world where simplicit wold be [the] onl ornament was to se a schema that featred a melod, often accompanied in parallel thirds, that gentl oscillated arond the tones of the tonic triad. Near the close of the Missa pro defnctis b François-Joseph Gossec (74 829), where one leaves behind the terror of its famos Tba mirm to contemplate rising again to a gileless paradise, two sopranos present an instance of what I term the Pastorella, the shepherdess : ex. 9.0 Gossec, Missa pro defnctis [Reqiem], mvt. 5, [Andante], m. 2 (70) 2 b? b pastorella cadence v x 4 E E. E x v 4 E. a E. m The Pastorella schema shares with the Meer and Jpiter a ❹ ❸ melodic termination, a similar harmonic pattern, and its fnction as opening gambit or important theme. In the larger context of Gossec s mass, the above phrase is part of the Lacrimosa. That movement begins in a dolefl F minor, which eventall leads to a half cadence followed b a grand pase. When the Pastorella begins in Ab maor, it is clearl the opening theme of a new section. The prized effect of noble simplicit and qiet grander ( edle Einfalt nd stille Grösse ), an inflential phrase from Johann Joachim Winkelmann s description (755) of ancient Greek art, is here msicall abetted both b the dearth of melodic dimintions and b the wa in which the opening ❸ in measre 2 leads broadl throgh the ❹ in measre 28 all the wa to the high point of the ❺ in measre 0. The avoidance of vocal displa is likewise evident in the mere five-note range of the melod. Vocal displa was the stock-in-trade of the great castrato Farinelli ( ), a Neapolitan who stdied with Porpora. Yet Farinelli was also renowned for his affecting performance of a simple, direct melod. One of his signatre arias was Hasse s Per qesto dolce amplesso ( For this sweet embrace ). The aria debted in Hasse s first Metastasian opera, Artaserse (Venice, 70). Farinelli took the aria with him to London (the version shown in ex. 9.) and later sed it to assage the melancholia of Phillip V of Spain. Hasse s radiant et restrained aria presents the noble simplicit of a ong man wrongl accsed

9 Chapter 9 the meer 9 et willing to die to save his father. The example gives the beginning of the opening ritornello. Farninelli s entrance with this same theme (not shown) is even simpler, with the dotted rhthms replaced b two sixteenth-notes or plain eighth notes. ex. 9. Hasse, Artaserse, Per qesto dolce amplesso, m. (London, 74) # # # # Prinner half cad. do-re-mi / pastorella z x c J. J. n. a... v v v x #? # # # c a J. Ẋ ẊẊẊẊẊẊ a J Ẋ Ẋ Ẋ ẊẊẊẊẊ m k The first two measres present the Pastorella s parallel thirds in the treble and its 5 5 pattern in the bass. A Prinner riposte then leads to a half cadence. Note that Hasse s melod also presents the Adeste Fidelis variant of the paired Do-Re-Mi, that is, Do-Re (m. ) Re-Mi (m. 2). The downbeats of measres 2 emphasize the Do-Re-Mi, while the middle beats of the same measres emphasize the Pastorella. Had the second measre begn with a prominent A5, one might hear the Jpiter. These schemata were each sbtl distingished in the galant stle. Onl mch later, when the distinctions no longer had an force, were the all assimilated into the categor antecedent-conseqent phrase or worse, I V V I. One of the man concertos of the great Venetian msician Antonio Vivaldi (78 74) was actall titled La pastorella : ex. 9.2 ca. 70) Vivaldi, Concerto in D, La pastorella (RV95), mvt. 2, Largo, m. (Venice, # # #? # 8 8. Romanesca J J J J J J J J J p Prinner z J. x J J o m k

10 20 msic in the galant stle Its slow movement carries man of the external markers of the pastoral simple textre, gentl oscillating neighbor tones in triple rhthm, calm bass, the pipes of Pan (a recorder plas the melod) and et it presents the generic schemata of the Romanesca with Prinner riposte. Hence I do not want to sggest too strong a link between an abstract schema and the pastoral theme or topic, to se Leonard Ratner s term. 2 Most of the galant schemata were adaptable to an topic, st as a particlar dress pattern cold be realized in an nmber of fabrics. Nevertheless, the Pastorella schema did seem to have a certain affinit with the pastoral topic. In a similarl bcolic slow movement for the same instrmentation (ex. 9.) Vivaldi chose to present the Pastorella along with the Jpiter. Note the Pastorella s characteristic 5 5 bass, its mid-measre resoltion of the melodic dads, and its ver simple melod. The Jpiter s characteristic ❹ falls sqarel on the downbeat of the second measre: ex. 9. Vivaldi, Concerto in G Minor (RV05), mvt. 2, Largo, m. (Venice, ca. 70) c. v J Jpiter / pastorella x. J? c The Adeste-Fidelis like melodic leaps down to and p from ❺ are a frther indication that the Jpiter and Pastorella have close relationships with the Do-Re-Mi. Leonard Meer groped the Pastorella together with the Meer (m terms) nder the categor of the changing-note archetpe. While those schemata do share a trnlike or sigmoid melodic contor of the core tones, T, the Pastorella has more in common with the Jpiter and the paired Do-Re-Mi. For instance, whereas the Meer s second event featres a prominent melodic ❼, these other schemata all reqire a ❷ at that point: paired Do-Re-Mi (❶ ❷...), Jpiter (❶ ❷...), Pastorella (❸ ❷...). From the point of view of the galant composer, the pschological qestion of schema similarit or affiliation was less important than the pragmatic one of which schemata cold be sperimposed if one desired to achieve, in Leonard Meer s apt phrase, both grammatical simplicit and relational richness. 4 Three opening themes from the solfeggi of Giacomo Insangine ( ) can demonstrate how, for instance, a ong msician cold learn to distingish the Pastorella from the Meer. A Neapolitan collection of maestro Insangine s solfeggi for bass voice

11 Chapter 9 the meer 2 and partimento is preserved in the Noseda Collection of the Milan Conservator Librar. The first example below, no. 0 of that collection, presents the Meer with its standard 2 7 (or 2 7 ) bass. The melod descends a step for the first dad ❶ ❼, and then contines to descend throgh a Prinner melod: Ex. 9.4 Insangine, solfeggi nos. 0 2, all beginning with m. (Naples, ca. 770s) 0?? { x c. J. J J J a c Meer z prinner k p p #? #? c c v Pastorella v x p p 2 Pastorella prinner z #? # 2 4 k v k x #? # 2 4 a E p p The second example, no., presents the Pastorella. The 5 7 bass is a variant of the 5 5 basses seen earlier. The melod, after sonding the ❸ ❷ dad, restates the ❷

12 22 msic in the galant stle as part of a scalar High ❷ Drop. The third example, no. 2, presents another Pastorella, this time forming another Prinner melod b transposing measres 2 p one step in measres 4. Solfeggi for bass can be instrctive for the analsis of schemata becase the generall present the basic forms, avoiding complex tpes of ornamentation. Solfeggi for soprano, as we shall see below, were written for more agile voices. The A prile Giseppe Aprile (72 8) had a brilliant career as a singer. Trained in Naples, where he later became a maestro, he premiered man of the choice operatic roles, inclding that of Timante in the Stttgart premiere of Jommelli s Demofoonte (74; see chap. 24). The solfeggi, or vocal exercises, that he, Drante, Leo, David Perez (7 778), Porpora, Insangine, Nicola Sala (7 80), Pasqale Cafaro (75/ 787), and others wrote for stdents in Naples were not the arid scales and arpeggios that the term calls to mind toda. Instead, the were often beatifll crafted melodies paired with partimento-like nfigred basses. Stdents ths practiced and absorbed a complete melod-bass framework. The lovel vocal gestres in Cimarosa s operas ma owe a great deal to the time he spent as a stdent of Aprile. Castrati, among whom Aprile was one of the most prominent, have not been given mch credit for composition, whether throgh prder in Victorian times or throgh ignorance of the rich tradition of eighteenth-centr solfeggi. Yet the were crcial carriers of galant traditions, and their knowledge of how to craft a moving melod, shaped as it was b their ears on stage, cold be matched b few others. The Aprile schema, which I name in his honor, is closel associated with the Meer. Both share the same pair of initial events. Bt whereas the Meer closes with a ❹ ❸ dad, the Aprile closes a third lower with ❷ ❶. Example 9.5, taken from one of Aprile s Neapolitan solfeggi for soprano (meaning a bo or a castrato in the male-onl world of the conservatories) begins with the open half of a tpical Meer (mm. 2). Its closed half (mm. 4), with its ❷ ❶ dad, is what distingishes it from the Meer. This for-bar Aprile opening gambit leads to a for-bar Prinner riposte, with the la-to-sol ornament (mm. 5 ) applied twice. The Prinner s normal tenor voice is in the bass. Thogh the solfeggio looks ver spare with its barel moving bass, the accompanist wold have been expected to add, where appropriate, parallel thirds or sixths beneath the melod, thereb considerabl enriching the textre and sonorit. Sch textres are qite common in the arias of Cimarosa, Paisiello, Piccinni, and Mozart. The rising scale in measre 8 flees the closre of the Prinner, ascending to begin in measre 9 a second descent toward a special tpe of galant half-cadence. A discssion of these and man other varieties of galant closes or claslae will be the focs of chapter. As shown earlier in example 9.9 from Mozart s Jpiter smphon, the Jpiter motive can form an alternate bass for an Aprile melod. Mozart fll exploited this ars combinatoria in the slow movement of his famos G-minor smphon, written the same smmer as

13 Chapter 9 the meer 2 ex. 9.5 Aprile, solfeggio, MS fol. 40v, Larghetto, m. (ca. 780s?)?? 4 E. 4 { v x E. k E. k. J. E. n. Prinner k aprile m la-to-sol florish z v the Jpiter smphon. Examples sketch the melod and bass of some of the combinations and transformations that abond in this movement, focsing on those that relate to the schemata previosl introdced. Articlating Mozart s series of schemata are a variet of claslae with differing strengths and fnctions. Mozart selected a for-measre presentation of the Jpiter schema (see ex. 9.) for the opening of his Andante. Its melod that is, what a listener attends to as the theme nfolds emerges from the composite effect of three sccessive entries b the violas, second violins, and first violins. The violas and second violins leap p from ❺ in a manner characteristic of the Adeste Fidelis Do-Re-Mi (see chap. ). The perform a variant of the Corelli leapfrog (cf. ex. B.7 in appendix B). The violas leap first to Eb4. As the repeat that tone in a series of eqal eighth notes, the second violins leap to F4 a second above it. The ensing iterated clash of Eb4 and F4, the 2 of a 2 sspension, contines for a whole measre, resolving onl in measre when Eb4 descends to D4. The bass spporting the Jpiter is a variant of the standard bass clasla ( 4 5 ; see chap. ). In measre 2 (at the asterisk), beneath the 2 of the 2 sspension, Mozart chromaticall ornaments 4 and its movement toward 5. His Jpiter is followed b the traditional Prinner riposte. For its first half, Mozart prefaces each core tone in the melod with a lower chromatic appoggiatra (highlighted with starbrsts in ex. 9.). For the Prinner s second half, Mozart accelerates the pace, fitting two statements of the ❹ ❸ dad (with High ❷ Drops) in measre 7. The general descent of the Prinner melod ths pshes on to the ❷ in measre 8, ending in a chromatic slide to a half cadence.

14 24 msic in the galant stle ex. 9. Mozart, Smphon in G Minor (KV550), Andante, m. (Vienna, 788) 5? x v 8 D... a J J. 2 8 a J a a J a a * n b.. J a a a m z Prinner nhn n a nh a piter v v half cad. v bnbnn bb a? a a m a a a a a a. a p p In his first transformation (ex. 9.7), he placed the melod in the lowest string parts and the bass in the first violins, ths exchanging the registers of melod and bass. In a frther transformation, he simplified and extended the chromatic ornament (see the doble asterisk, mm. 0 ), which first appeared in the bass of measre 2. As for the Prinner, with its melod in the bass, the ❹ ❸ close fnctions as a conventional preface to a strong cadence, first evaded and then completed. ex. 9.7 Mozart, Smphon in G Minor (KV550), Andante, m. 9 (Vienna, 788)? 8 8 a... n. ** piter m b.. J a v... D x a J J 2 E... J a a. a #. a

15 ? ex D J E... J (contined) Chapter 9 the meer 25 a J? Prinner cadence Evaded m a. a #. a a p @ { v n h z x x J a a { J a a a nah J m! After a complete cadence in the main ke (not shown), Mozart introdced a new theme in Bb maor. It featres the Jpiter melod in the bass and an Aprile melod in the first violins (cf. ex. 9.9 from the Jpiter smphon). In place of the 2 sspensions of the opening theme (m. 2), this new theme featres 7 sspensions (mm. 2, 2). A small Fonte enses, followed b a clasla vera (see chap. ) that closes with Fs in both bass and treble. That is, the msic emerges from the digression of the Fonte to focs on Fs as both and ❶ of a local bt relativel stable F-maor context: ex. 9.8 Mozart, Smphon in G Minor (KV550), Andante, m. 20 (Vienna, 788) 20? 8 8 { J n J k J a a m a J a a b b n b Jpa a J a a 24 z z x x b @ n n a a n J a a n { J a a E.. p n J a a APRILE k clasla vera

16 2 msic in the galant stle The next transformation takes as its point of departre the 2 sspension that occrs in measre 2 when the second violins leap to a tone a step above the tone being reiterated b the first violins. At the end of the previos example, rescored below as the beginning of example 9.9, all the principal parts pla or ornament an F as or ❶. In measre 28, an analoge of measre 2, the pper parts introdce a dissonant Gb one step above the F. The resoltion of this nexpected 2 sspension leads qickl to the remote ke of Db maor (m. 29). There Mozart repeats the bass and composite melod of measre, with the addition of the decorative descending scale first heard in measre 27 (itself a transformation of the descending thirds of measre ). What follows in measre 0 transforms the expected 2 sspension into the closel related 4 sspensions of a textbook Monte Romanesca (see chap. 7). In the late 780s the Monte Romanesca was an archaism, and the overla of the descending scales (not shown) gives this remarkable passage a Handelian grander: ex. 9.9 Mozart, Smphon in G Minor (KV550), Andante, m. 28 (Vienna, 788) n J 0 cl. vera b b J b { J @ etc. b? b b 2 b 8 J a a J a a b J a a b J a a J a a k monte romanesca b b b... b.. b...? b b bj b a a b a a J a a b J a a J a a a a k o The opening theme retrns naltered in measre 74 (not shown). After the Prinner riposte, the second Jpiter and its expected exchange of parts follows, with the melod moving to the bass, and the prior bass moving to the first violins. This second Jpiter (ex. 9.20), now with both forms of the chromatic ornament in the first violins (marked with single and doble asterisks), dissolves in a modlation to F minor before its Prinner riposte can appear.

17 Chapter 9 the meer 27 ex. 9.9 Mozart, Smphon in G Minor (KV550), Andante, m. 82 (Vienna, 788) 8 90??? 8 8 bz { n bz x a J n n J a a a J a a n. J a a J bn b x { z x a a J a J a a J a a. J a a a J J b b b a. a #. a p @ v? b b n nh z n a n x x a h { E. 94 m.. n b * **. n. b z. J a a v D x n n n a J 2 E. b.. a J m Meer Prinner piter o Ag. th k p Meer k p k fonte p clasla vera

18 28 msic in the galant stle In between the dissolving Jpiter and its interrpted Prinner, Mozart inserted a hge Fonte. Heinrich Christoph Koch (749 8; see chap. 29, exx ) described this techniqe as a msical parenthesis in the connecting of melodic parts. Mozart s Fonte is so complex that it can onl be described piecemeal, althogh it has a close analog in the large Fonte b Wodiczka shown earlier (ex. 9.7). As in the Wodiczka Fonte, each half of Mozart s Fonte is a Meer. The second half of each Meer presents the Prinner melod. The first half of each Meer emplos the motivic material of the Aprile (ex. 9 7), an association facilitated b the Meer and the Aprile sharing the same opening dad ( 2 with ❶ ❼). Within this large Fonte measre 89 warrants special mention. In a hpothetical simpler version, Mozart might merel have ended the first Meer there, and then, in measre 90, begn the second one. In the actal version, Mozart takes the eighth-note melodic motive of measre 88 and echoes it, one step lower (shifted p an octave to the flte part) in measre 89. The flte s high Cb (b ❻) makes this a hermaphrodite Fonte within a larger, normal Fonte. The reslt is that measre 90 differs from its analog in measre 8. Whereas measre 8 merel begins a Meer, measre 90 both begins a Meer and ends an embedded Fonte-within-a-Fonte (note the small ❹ ❸ in measre 90). After this grand parenthesis Mozart retrns to the Prinner riposte as if nothing had happened. He then proceeds directl to the clasla vera, skipping the alread emploed Fonte. The Handelian Monte Romanesca follows as before (not shown). All the component parts from earlier in the movement are resed, bt in amazing new combinations a tre ars combinatoria.