Morphological Analysis of Mozart's "Fantasia in D-Minor" Kv.397
Aristotle University of Thessaloniki
School of Fine Arts
Department of musical studies
Lesson: Introduction to music morphology
Teaching: Mrs. Sampson – Nika Evanthia
Student: Vlahopoulos Ioannis
Morphological analysis of Mozart’s “Fantasia in D minor”, KV. 397.
Thessaloniki, 2005
Preface
Although the title ‘fantasia’ if often used as a generic implication for a work where its structural features are secondary to the imagination of the composer, the K. 397 is, paradoxically, a very predictable work. Its most striking orthodoxy is the manner in Mozart reiterates the thematic materials at the original or anticipated pitch, maintaining the accustomed rhythmic and melodic gestures along the way; even the episodical cadenza passages do little to substantiate the title. One is therefore captivated by how the composer has ‘operated’ on the work’s thematic materials in order to warrant the appendage of such a title – particularly if one compare this alongside the composer’s Fantasia and Sonata in C minor, K. 475/457, which conforms more appropriately to this taxonomy.
Each of the three movements were initially viewed as separate, self-contained entities since a link between thematic materials could not be easily established. Each thematic idea seemed radically different from the last, both in harmony and harmonic rhythm, texture and melodic temperament. But, with retrospect, this was a naïve assumption: this work can be viewed as a fantasia since all three sections share a commonality in motivic ideas and pitch gestures, proving that not even the alleged ‘episodical/bridge’ sections are unmarried in the musical structure.
For ease of understanding, a thematic overview of each section is provided to allow one to appreciate my ‘interpretation’ of the formal scheme at a glance.
Formal/Thematic Overview
Andante D minor
1-11 Quasi-Improvisatory Introduction
Adagio D minor
1-8 FIRST THEME
School of Fine Arts
Department of musical studies
Lesson: Introduction to music morphology
Teaching: Mrs. Sampson – Nika Evanthia
Student: Vlahopoulos Ioannis
Morphological analysis of Mozart’s “Fantasia in D minor”, KV. 397.
Thessaloniki, 2005
Preface
Although the title ‘fantasia’ if often used as a generic implication for a work where its structural features are secondary to the imagination of the composer, the K. 397 is, paradoxically, a very predictable work. Its most striking orthodoxy is the manner in Mozart reiterates the thematic materials at the original or anticipated pitch, maintaining the accustomed rhythmic and melodic gestures along the way; even the episodical cadenza passages do little to substantiate the title. One is therefore captivated by how the composer has ‘operated’ on the work’s thematic materials in order to warrant the appendage of such a title – particularly if one compare this alongside the composer’s Fantasia and Sonata in C minor, K. 475/457, which conforms more appropriately to this taxonomy.
Each of the three movements were initially viewed as separate, self-contained entities since a link between thematic materials could not be easily established. Each thematic idea seemed radically different from the last, both in harmony and harmonic rhythm, texture and melodic temperament. But, with retrospect, this was a naïve assumption: this work can be viewed as a fantasia since all three sections share a commonality in motivic ideas and pitch gestures, proving that not even the alleged ‘episodical/bridge’ sections are unmarried in the musical structure.
For ease of understanding, a thematic overview of each section is provided to allow one to appreciate my ‘interpretation’ of the formal scheme at a glance.
Formal/Thematic Overview
Andante D minor
1-11 Quasi-Improvisatory Introduction
Adagio D minor
1-8 FIRST THEME