TEXTURE AND SONATA FORM IN THE LATE STRING CHAMBER MUSIC OF HAYDN AND MOZART. (VOLUMES I AND II)

The aspect of textural activity that deals with the dynamic interaction between principal and subordinate voices has special relevance for late eighteenth-century chamber music. Although considerable attention has been given to the historical development of this aspect of style, two little analytic attention has been paid to its role in delineating form. This study is an investigation into that role. The first volume consists of a description of how the classification and system of score annotation were developed, followed by analyses of the textural activity in the first movements of twenty-seven string quartets and quintets: Haydn's Opus 33, Opus 76, Nos. 1-4, Opus 77 and Mozart's ten "celebrated" string quartets and his five later string quintets, K. 406 (516b), K. 515, K. 516, K. 593, and K. 614. The discussions of these first movements focus primarily on the expositions; scores for the complete movements, annotated to show changes of texture, are contained in Volume II.;The organization of texture in the expositions studied seems to be closely connected to two aspects of sonata form: the polarity that results from the movement to a second key during the exposition and the degree of thematic homogeneity in the exposition. These two issues seem to be especially closely linked in the works studied because the works with the most heterogeneous themes (Mozart's "Haydn" quartets) have the most consistent textural linkages between first and second groups.;In Opus 33, the most striking characteristic is a marked contrast of texture between first and second groups; in most of the expositions, this plan is realized by concentrating the most intense textural activity after the transition: the first group and often much of the transition are dominated by accompanied melody, the second group by motivic permeation. This arrangement of texture occurs in a context of homogeneous thematic material throughout the exposition and seems to be linked with a contrasting treatment of cadences in the first and second groups.;In Mozart's six quartets dedicated to Haydn, all the major formal outlines of the exposition are clearly delineated by changes of texture; furthermore, the presence of a discrete, contrasting second theme at the opening of the second group sets the stage for analogous textural organization in that group: the return to accompanied melody provides an automatic reference back to the texture of the opening of the movement, and the activity following the cadence in the second key provides another reference back to the more active textures of the transition.;The system of score annotation developed for this study uses graphic symbols combined with the full score. These annotations provide a graphic representation of the type of textural activity in progress, and thus facilitate the discussion of connections between textural and thematic events. The classification on which the graphic symbols are based consists of seven types of texture that are subdivisions of three categories: accompanied melody, motivic permeation, and polyphonic style.;In the later Mozart works, the interest lies primarily in the extraordinary nature of the textures themselves. In both the quartets and quintets, these richer textures are associated primarily with the latter part of the exposition: they are used to define the second key area and to give momentum to the latter part of the exposition.;The first movements of Haydn's Opus 76, Nos. 1-3 have highly original formal structures that encompass unusual sequences of thematic and textural events and sparing use of thematic materials. In Opus 76, No. 4 and Opus 77, Nos. 1 and 2, a striking double analogy exists in the second group: both the textures and themes from the first group are recalled, but are changed in significant ways.