A Slur in Mozart’s K.333

[John Ruggero]

The following scale passage appears in Mozart’s manuscript copy of last movement of the piano sonata K. 333:

K 333 MS.png (923.06 KiB) Viewed 2449 times

The first edition attempted to follow Mozart’s notation but had to split the scale passage and slur between the two systems:

K 333 1st ed.png (816.11 KiB) Viewed 2449 times

The questions facing an editor are

A. Why did Mozart beam the scale passage in two parts? Was this simply a lack of space?
B. Why is only the first part slurred?
C. Why do the slur and beam break at the passing tone C instead of a chord tone?

I believe that the notation is significant because it brings out an inner melody within the passage, as seen in the following diagram:

K 333 Analysis A.png (61.24 KiB) Viewed 2395 times

Interpretation

!. The passage outlines the melodic progression: F-B flat-D-F within a 6/4 chord.

2. The slur outlines the passing motion between the F and B flat and links the B flat to the following passing note C to create a two-note motive B flat-C.

3. The beam breaks to show the significance of the D within the melodic progression which is lead to the passing note E flat, creating the motive D-E flat, a transposed repetition of the two-note motive B flat-C, and then to the final goal note F, which is the pitch the passage started on, three octaves below.

4. The final part of the passage is un-slurred, possibly to indicate a more brilliant, detached playing of the ending.

{Edit} The following diagram makes the voice leading clearer. Note that the D in measure 3 could be viewed as an essential tone in the overall melody, which would explain Mozart's desire to highlight the note by breaking the beam before it:

Analysis C.png (64.18 KiB) Viewed 2225 times

However, after the first edition, many editors have extended the slur and beam by one note and made other changes to the passage:

K 333 Breitkopf.png (138.32 KiB) Viewed 2449 times

K 333 Peters.png (112.6 KiB) Viewed 2449 times

K 333 NMA.png (110.01 KiB) Viewed 2449 times

Extending the slur to the D simplifies the melody to place much greater emphasis on the passing note E flat:

K 333 Analysis B.png (54.6 KiB) Viewed 2449 times

Slurring and beaming the whole passage as one unit does away with all melodic or motivic play:

K 333 Wiener Urtext.png (121.02 KiB) Viewed 2449 times

I leave it to the reader to decide between the interpretations.

[John Ruggero]

Here is another illustration Mozart's subtle slurring; this time from the first movement of the piano sonata K. 333:

K 333.1A.png (659.99 KiB) Viewed 2144 times

Interpretation

While some editors have made the slurs for A-C conform because the measures have the same rhythm, closer inspection shows that the notes of intense measure A may be intended hold through each other to form a four note diminished seventh under the exclusively chord tones in the melody. This extensive over-holding is first established as a motive at the beginning of the movement and is a special characteristic of the piece:

K 333.1B.png (569.52 KiB) Viewed 2144 times

So the left hand of measure one would be played:

K 333.1C.png (22.3 KiB) Viewed 2106 times

But the slurred groups in B and C are best only held through slightly so the final quarter note is left on its own. This creates a lighter, less intense effect that befits the changed emotional state of these two measures. That this is not an error or imprecision is confirmed by the identical slurring of B and C in the first part of the movement. The quick change of feeling from measure A through C is, of course, a characteristic of Mozart's style. Measure A is passionate and almost tragic, measure B relaxes the tension, and measure C is carefree.

[harpsi]

Regarding the first post. My take on why the new beam starts at d5 is that the chord in this cadenza is still on the 6/4 (Bb/F). That is, I believe, the reason.

[John Ruggero]

Thanks harpsi. Then it appears that we are in agreement that Mozart's notation is exactly what he intended and should not be second-guessed and modified.

In modifying the passage perhaps later editors have been influenced by Beethoven passage work of the following type in which sub-scales are created within larger ones:

Beethoven op 73.png (397.1 KiB) Viewed 2009 times

Here is another passage from the second movement of Mozart's piano sonata K. 457 in which he starts a new beamed group on the principal chord tone.

K 475.2.png (299.28 KiB) Viewed 2011 times

If one looks closely one sees how he writes the A flat at the arrow more carefully than the notes before it, which were sketched in quickly so the stems had to be added afterward and rather sloppily.

[NeeraWM]

Thank you for this fascinating read, John!
Since you clearly sound like having a plan , how will you engrave it?!

[John Ruggero]

Thank you very much, Neera. I am glad you found it interesting.

Yes, I engraved it exactly as Mozart wrote it!

[NeeraWM]

I had no doubt! :-D