Centered beam in Mozart

[John Ruggero]

The following example is from the second movement of Mozart's Sonata K. 279. As in viewtopic.php?p=10566&hilit=centered+beam#p10566 this is an example of a centered beam that, because of the small interval involved, seems to have no other explanation than to show phrasing and voice leading and perhaps even orchestration, as if a solo wind instrument enters at this point:

Mozart K 279.2 .png (623.15 KiB) Viewed 113755 times

This is the only centered beam in the movement.

[OCTO]

It could be also that the first thing he wrote is the last two measures (without the first beat when "piano). He could imagine a cadence before, wrote finishing phrase of two voices. And then proceed with writing the tuplet in the first measure (of the example).

Of course, you explanation is also possible. Even when writing piano sonatas, as the great opera composer, he had in mind various "characters" in his music. His way of writing is in my definition is of the "operatic" type, that's why people like Mozart's instrumental music, it is always as a hidden story with birds, trolls, princes, elves, love,...

[John Ruggero]

I just realized that the example could be misleading and may need more context. Here is the whole system. They are the two staves of a grand staff in case that would influence anyone's opinion. Mozart didn't draw the bar lines through, which was normal for that time and also later.

K 279.2 example.png (416.51 KiB) Viewed 113702 times

It could be also that the first thing he wrote is the last two measures (without the first beat when "piano). He could imagine a cadence before, wrote finishing phrase of two voices. And then proceed with writing the tuplet in the first measure (of the example).

Indecision and "filling in" seem doubtful to me for Mozart. Pieces appear to have been completely finished in his mind before he ever wrote them down, so corrections are rare in his manuscripts. Generally all one sees are some ink smudges, sometimes a technical problem with the quill pen, some water damage etc. Here is the whole movement:

K 279.2 complete.png (1.76 MiB) Viewed 113702 times

[John Ruggero]

Of course, you explanation is also possible. Even when writing piano sonatas, as the great opera composer, he had in mind various "characters" in his music. His way of writing is in my definition is of the "operatic" type, that's why people like Mozart's instrumental music, it is always as a hidden story with birds, trolls, princes, elves, love,...

I too find his piano music just as colorful as his other music. Every piece is a drama with a cast of characters, each beautifully delineated with its own special characteristics. Students are always amazed when I tell them that I think that Mozart was the most "human" and expressive composer because there is so much variety of expression per square inch. The emotions are changing almost second to second in his music just as in our minds.

This movement is a case in point. Note all the dynamic changes. That just hints at what is going on. Each of the three repeated melody notes that start the piece has a different feeling within a general mood that changes abruptly with the second measure. Then yet another feeling follows in the third measure and so on. The emotional content is changing from measure to measure and sometimes from beat to beat and beyond.

[OCTO]

The emotional content is changing from measure to measure and sometimes from beat to beat and beyond.

[John Ruggero]

Thanks, OCTO!