In this paper, Wolfgang Amadeus Mozart's《Sonata no. 18 in G major K.301》was analyzed. The work looks simple in scale and technique, but it is important that shows the development process of classical violin sonatas and represents the musical features between piano and violin. Before analyzing the wo...
In this paper, Wolfgang Amadeus Mozart's《Sonata no. 18 in G major K.301》was analyzed. The work looks simple in scale and technique, but it is important that shows the development process of classical violin sonatas and represents the musical features between piano and violin. Before analyzing the work, this study looks deep into the background of the classical period, the development of violin sonatas and major works, Mozart's lifetime, and analyze this work focusing on form, motive, harmony, and the relationship between piano and violin parts.
Mozart's violin sonata is classified as a four-time period according to the composition form. It can be divided into childhood (1762-1766), youth (1772-1781) and maturity (1781-1788). The main feature that can distinguish the period of the work is the relationship between violin and piano. In childhood, the violin plays an accompaniment, but as it enters the youth, the two musical instruments appear to be in harmony or contrast in the relationship between the violin and the piano, and they begin to show an equal position, such as exchanging, doubling and imitating melodies like a partner.
Although this piece consists of a two movements, similiar to childhood work, compared to childhood works, the violin part often appears before the piano part by suggesting the main melody. As the violin and the piano exchange this melody, it is often seen imitating each other. (Music examples 1, 2, 5, 12, etc.) the first movement consists of a sonata form. The second movement consists of a lied form.
《Sonata no. 18 in G major K.301》 has equal status in the form of violin and piano, interacting and conversing with each other. The relationship between the two instruments is treated equally for the first time in Mozart's violin sonata, including the frequent appearance of the imitative section. In this respect, it can be seen as an important work for the beauty and development of classical violin sonatas. As Mozart’s compositional techniques influenced the establishment of classical violin sonata, I hope this research help the performers of K.301 obtain better understanding.
In this paper, Wolfgang Amadeus Mozart's《Sonata no. 18 in G major K.301》was analyzed. The work looks simple in scale and technique, but it is important that shows the development process of classical violin sonatas and represents the musical features between piano and violin. Before analyzing the work, this study looks deep into the background of the classical period, the development of violin sonatas and major works, Mozart's lifetime, and analyze this work focusing on form, motive, harmony, and the relationship between piano and violin parts.
Mozart's violin sonata is classified as a four-time period according to the composition form. It can be divided into childhood (1762-1766), youth (1772-1781) and maturity (1781-1788). The main feature that can distinguish the period of the work is the relationship between violin and piano. In childhood, the violin plays an accompaniment, but as it enters the youth, the two musical instruments appear to be in harmony or contrast in the relationship between the violin and the piano, and they begin to show an equal position, such as exchanging, doubling and imitating melodies like a partner.
Although this piece consists of a two movements, similiar to childhood work, compared to childhood works, the violin part often appears before the piano part by suggesting the main melody. As the violin and the piano exchange this melody, it is often seen imitating each other. (Music examples 1, 2, 5, 12, etc.) the first movement consists of a sonata form. The second movement consists of a lied form.
《Sonata no. 18 in G major K.301》 has equal status in the form of violin and piano, interacting and conversing with each other. The relationship between the two instruments is treated equally for the first time in Mozart's violin sonata, including the frequent appearance of the imitative section. In this respect, it can be seen as an important work for the beauty and development of classical violin sonatas. As Mozart’s compositional techniques influenced the establishment of classical violin sonata, I hope this research help the performers of K.301 obtain better understanding.
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