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Dance in Mozart's Arias Author(s): Wye J. Allanbrook and Wendy Hilton Reviewed work(s): Source: Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 142-149 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3127676 . Accessed: 09/11/2011 17:20

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http://www.jstor.org which startsalla breveand prestissimoends up in 2/4 and organizationof time that is at the heartof Mozart'screa- only allegroassai. tive act. To realizeMozart's indicationsas accuratelyas possible in all their subtlety therefore requiresboth a Jean-Pierre Marty, composer, conductor and pianist, is the knowledge of 18th-centurytempo conventions and a Director of the American Conservatory in Fontainebleau. careful examination of every element of the musical He has been working on the question of Mozart's tempo structure. This is one of the performer'smost chal- indications since 1966, and has published The Tempo lenging and stimulatingtasks. Upon his or her success Indications of Mozart (Yale University Press, 1988). depends the listener's perception of that particular

Wye J. Allanbrookand WendyHilton Dance rhythms in Mozart's arias

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Mozart and the dance performersto use the forms as a textbook WYE J. ALLANBROOK for the study of rhythmand characterin music'-these Musicwritten for the dance is a familiarpresence in the texts and others like them are part of our standardana- music of the high .The rhythmsof social dance lytical equipment,and seem no more out of the way to saturateFrench opera, for example,and the dancesuites us than those writers'instructions in thoroughbassand and partitasof the late 17thand early18th centuries. Mat- counterpoint. Hence we scarcely raise an eyebrow at theson'sexhaustive discussions of particulardances and analysesthat seek to set the more 'abstract'music of the their affects,Kirnberger's exhortation to composersand period in a dance framework:to identify a Bach fugue

142 EARLY MUSIC FEBRUARY 1992 subject as a bourr&e,for example, or a Handel aria as a am sure that we all have changeswe would hope, either sarabandeseems fully legitimate. overtly or covertly,to see come about from this bicen- But as the 18thcentury moves towardits end, our per- tennial second look at Mozart'smusic. My hope-one spective suffers an abrupt change: we are reluctant to that I have hardlykept covert-is that our notion of the speak of dance patterns as animating the music of 'absolute'Mozart may finallydisappear and the Mozart Mozart;what seemednobly expressivein Baroquemusic who used his music as a mirror to catch glints of the suddenly appearsmundane, and a needless contracting many-facetedworld aroundhim maytake its place.For I of his expressivehorizon. This reluctancedoes entail a think that this is not to demean but to celebratea man certaindisregard for the evidence.We know from Con- who had an intense love for the social pleasuresof his stanzeMozart, for example,via the memoirsof the tenor life, and whose music would have had farless animation Michael Kelly,that Mozart loved to dance, and that he if it had been cut off from them. More materially,if we often said that 'his talent lay in that art rather than in ourselves come to understand more about the living music'.' We know that Mozart wrote all sources of this animation, our performancescan only through his life, most intenselytoward its end, when, in become more directed, more lively and more his capacityas Royal Imperial ChamberComposer, he illuminating. composed for the ballrooms of the Viennese many rich Turningto vocal music specifically,in the mid-18th sets of , contredansesand Germandances. (The centurythe criticaltide was turningagainst the intrusion last two types, the dances of the hour, had eclipsed the in opera of the old-fashioned divertissementsthat con- stern hierarchyof the French court couple dances, and sisted of a succession of social dances with little or no were performedon social occasionsalong with the more connection to the plot. It was now good taste to require genteel , which remained an important pres- more dramaticdances, which emphasizedthe virtuoso ence.) We know that a movement called 'minuet' con- dancerand bore an explicitlink to the plot. By the 1760s ventionally graced most symphonies and chamber dance was beginningto separatefrom opera as a serious works,and that the last movements of these same works art in its own right;witness the popularityof the pan- frequentlytook their quick comic grace from the con- tomime ballets of Noverre and Angiolini, with their tredansein its 2/4 version (althoughthis has not helped attemptsto be directlymimetic of the action (as if such a us to recognize that this habitual employment in 'seri- thing wereever fully possible without some mediationof ous' music of the popular dances then danced in the conventional gesture). In Mozart's operas, however, dance halls made the symphony into a kind of analogue social dance did not disappear;it went, so to speak, to the Baroquedance suite). Finally,if we look closelywe underground,to become part of the musical materialof see scatteredthroughout Mozart'sworks unmistakable the ariasand ensemblesof his matureoperas. And it was rhythmic references to dances old and dances newly not divorcedfrom expression,as were the social dances popular, to dances he enjoyed performing in daily life interspersedwith the action in the tragddielyrique. For and those old-fashionedones the sense for which he had the patternsof social dance were in themselves,as Mat- absorbed from his classical Kapellmeistertraining. So theson stressed,bearers of affect;written to accompany the evidence is that dance had as lively a presence in dancesperformed on social occasions,they mirroredthe Classicmusic as it had had in the Baroque;the old ways social and affectivehierarchy. had just changed with the times, and taken on new Although I will forbearmentioning every dance pat- manifestations.Nevertheless, something stills our fac- tern that found its way into Mozart'smusic, a quickview ulty for comparison here: I suspect it is the notion, of a spectrum of dances from slow to fast would start inherited from our 19th-centurypredecessors, of the with the austere triple pattern of the , all limpid purity of Mozart'smusic, the notion of a Mozart restraint and Spanish hauteur. In the middle would who, while childlike, neverthelesskept his eye on the stand the quicker, evenly accented triple of the com- otherwordlyand the absolute. plaisantminuet, which in its noble congenialitybecame I must immediatelyconfess that in this litany of our known as the 'Queen of all the Quicker triple I dances'. failings am setting up something of a straw man. measures were often bound together into compound Things are changingrapidly in Mozart analysis;writers duple, or 6/8, where a duple beat on a higher level con- are more coming and more to accept-indeed trolled the lower-level pulse of the lilting triple; the embrace-a Mozart whose music was grounded in the in 6/4 (later 6/8), although a court dance, had strong then and in there, the ways of the world he inhabited.I rustic connotations, and habitually appeared in operas

EARLY MUSIC FEBRUARY 1992 143 as the metre of peasantchoruses. The gigue had two sis- masters.The most comprehensiveaccounts are found in ters, slowerversions of 6/8: the so-calledpastorale, mod- books by four masters of different nationalities:Gott- erate-tempoedand legato,3and the siciliano,slower than fried Taubert, RechtschaffenerTanz-Meister (Leipzig, the pastorale,and typicallyin dotted rhythms;both had 1717);Pierre Rameau, Le maitre a danser (Paris, 1725); strong Arcadianassociations. The , a moderate- Kellom Tomlinson, The Art of Dancing (London, 1735); tempoed dance in duple metre, also had a history of and Gennaro Magri, Trattoroteorico-prattico di ballo association with the pastoralmode, and with its com- (Naples, 1779). panion, the amorous.4The rhythmicpattern of its usual While Taubertand Tomlinson seem to have made music is an inversion of the 'pedestrian'rhythmic pat- careersin their native countries, Rameauwas dancing tern of the march, in which a simple i1 2 3 4 1 becomes master at the Spanish court at the time his book was 3 4 1 1 2. It articulatesa complex rhythmic arch across published. Magri was a highly skilled theatricaldancer the bar-lineto establisha coy beatingrhythm that could who performedmostly in Naplesand Venice,but in both be said to mirrorthe pastoralmode in its most artificial 1759 and 1763/4 he was engaged at the Burgtheater in manifestations;the gavotte frequently comes with a Vienna. musette bass, as for example, in the of Bach's Given the long life and widespreadpopularity of the . These and other dance rhythms would minuet it is to be expected that it was not danced in have been familiarto Mozart'saudiences, as also would exactly the same way everywhereor at all times. But have been their affectiveconnotations. They formed a while the descriptionsand notated scores of the dance powerful vocabularyof expression, which Mozart fre- show certaindifferences, the threebasic essentialsof the quently employed to choreographcharacter in the arias minuet remain the same: one pas de menuetequals two and ensemblesof his mature Italianoperas. measuresof 3/4 time (or one of 6/4, as the music is some- We will illustratethis union of dance and characterin times written), the spatialfigures follow each other in a Mozart'sLe nozze di Figaroand Don Giovanniby con- prescribedorder, and a good performanceof the dance sidering two of those dances-the minuet and the must be distinguishednot merely by a good technique as and then as in vari- but the fine air and of the dancers. gavotte-first danced, employed through carriage ' ous operatic contexts. We hope to give a sense for the The minuet was the epitome of the aristocraticdanse dance patterns themselves, and then to show how the deux,designed to be performedby one couple alone at a understandingthat grows from absorbingthe gestures time in order of social precedence.Simpler technically of these dances-internalizing them, as it were-can and choreographicallythan the other popular Baroque directthe singerto both a style of execution and a bear- dansesa* deux, the bourrees,gavottes, , ing on stage;these patternscan be read as virtual 'stage and so forth, the minuet is neverthelessfar from easy. directions'.We do not propose that the steps of the The better the dancer'stechnique the easier it appears, dances should be directly translated into the singer's and the greatest difficulty in performing the minuet motion; the dance rhythmsin Mozart'sarias were styl- impressivelylies in its apparent simplicity.As Kellom ized, and it is the ethos of the dance gesturesrather than Tomlinson expressedit: the steps of a particularchoreography that the singer The minuetis one of the most gracefulas well as difficult must hope to absorb. Dancesto arriveat a Masteryof, throughthe Plainnessof the Stepand the Air and Address of the Bodythat are requisite to its Embellishment. Dancing the minuet WENDY HILTON In upper-class society, learning the minuet was con- The minuet and the gavotte survived,each in its own sideredto be essential.Its study enabledyoung persons way, during Mozart'slifetime. In the ballroom at least, to develop the impressiveyet unostentatiousair which they continued to be dancedwith some of the basic steps would distinguishthem in society.No action in everyday first describedin early 18th-centurydance publications formallife was left to chance,yet the ultimateaim was to beginning with Raoul Auger Feuillet's textbook on appearsupremely natural. This ideal was expressedsuc- dancenotation, Choregraphie,published in Parisin 1700. cinctly in The Spectatoras: 'Good breeding shows itself The ballroom menuetordinaire, which gained favour most . . . where it appears the least.'5 at the court of Louis XIV during the 166os and sub- The idealsof self-presentationas given by the dancing sequently throughout European artistocratic society, masters lay in an erect, yet never stiff, carriageof the was described and notated by numerous dancing head, a steady waist to keep the body upright and

144 EARLY MUSIC FEBRUARY 1992 F/

2 Beforethe ball,c.1780, copperplateengraving (Vienna, Archiv der Gesellschaft der Musikfreunde) centred,and a complete lack of affectationat all times. wrote their accounts in the first half of the 18thcentury, In his account of the minuet Magriexpresses the same providediagrams of the minuet figures,Gennato Magri, idealsas the earliermasters. He describesthe minuet as a writing in 1779, unfortunately relies on verbal descrip- sustained dance, the technical execution of which tions, which makeshis intentionsdifficult to understand requires 'ambitious feet' and a 'hidden control'. The at certainpoints. However,his descriptionsof the steps dancers should maintain open, relaxed expressions, are reasonablyclear. He describes places where a foot their mouths smiling slightlyto expressa certaincheer- touches the groundlightly, or slidesalong the floor when fulness. The arms must move as though naturally,but closing toward the other foot. So the steps are stylisti- above all the dancing must be distinguishedby good cally different from those given by the earlier masters. taste, and a noble carriageand air.6 Magridoes not use the cross-rhythmbetween steps and Therewere several basic pas de menuet.The one prob- music; instead the two bends and stretches are distri- ably used most frequentlyas the 18thcentury progressed buted so that an accent occurs on the first beat of each was the pas de menueta deux mouvements;that is a step- measure. unit in which the knees are bent and stretchedtwice. Each stretchingof the knees provides a rhythmicstress The minuet in Mozart'sarias within the step-unit. Most characteristicallythe bends WYE J. ALLANBROOK and stretchesare distributedto provide a cross- Let us now reviewa few of the many passagesin Le nozze between steps and music. di Figarothat use minuet rhythmsto dramaticpurpose. While Rameau, Taubert and Tomlinson, who all One of the most notable is the first part of Figaro'saria

EARLY MUSIC FEBRUARY 1992 145 'Sevuol ballare'early in Act1, whereFigaro imagines a vanniminuet turnsup at a crucialmoment in Le nozzedi vivid social revengeagainst Count Almavivafor his Figaro,but not in this case as a mere identifierof social cuckoldingintentions (as revealed to Figaroby Susanna class. Insteadit is inflected in order to transferthe gen- a momentbefore). The ariais in two parts,which in ealogical word 'noble' (as in 'noble-born') into the their orderingimitate currentpractice in the ball- domain of moral character.It occurs at that telling room-first a tautand elegant minuet, in whichFigaro moment when the Count, trapping the Countess, he darklypromises to 'teachthe little Count how to dance', suspects, in flagrantedelicto with Cherubinoand press- andthen a quick2/4 contredansein whichhe enumer- ing his advantagewith ignoble bullying,opens the door atesthe machinesof revenge. to the Countess'scloset to find not Cherubinobut Sus- Anotheraria, one actually labelled Tempo di Menuetto, anna, who has cleverlymanaged the substitutionin the is Marcellina'simportant but rarelyperformed solo in nick of time. 'My lord,' she says simply, 'what is this Act4 of Figaro,which opens in civilminuet rhythms as bemusement? Take your sword; kill the page! That she singsof the civilmating habits of the beastsof the cursedpage-see him here.'Molto andante,in 3/8 time, field.(This is in contradistinctionto the secondpart of the strings play the unadorned accompaniment to a the aria, where in march-likeduple rhythms she minuet that follows the rhythmic pattern of the Don describesthe crudebehaviour that males of the human Giovanniparadigm-a crotchet and four quavers per speciesexhibit toward their significant others.) bar. There is no melody at first; the strings project Theballroom scene in theAct i finaleof DonGiovanni instead the 'essence of minuet'. As Susanna gains presentsa microcosmof the socialworld of the operain strengthfrom her triumph,her vocal line graduallytakes danceimagery-the clumsy peasant Teitsch or German on greaterarticulation and ornament.The moment is a dancestumbled through by Leporelloand Masetto, the quintessential'shock tutti' to use the vocabularyJohn bourgeois contredanseassumed by the aristocratic Platoffhas urgedon us.7Susanna is in complete control; seducerwho betrays his rank,and the minuet danced by she has takenthe Count'saristocratic dance and made it themaskers, the only true aristocrats in thisordered tur- her own. It is difficultnot to leap to the conclusion that moil.A minuetwith the samerhythms as the Don Gio- she is noble, and that he is not. The Susannahere must

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146 EARLY MUSIC FEBRUARY 1992 not be the pert servantgirl we have sometimeswitnessed step-units and musical units constantly overlap, until in the opera, but fully graced, and gracious in her sar- the half-cadenceand cadencebars, where choreograph- casm, catching the gestures of the dance in her every ically a step-unit is used to resolvethe conflict-if I may movement and utterance.The dance's 100-yearhistory use so strong a word-and reach a momentarysense of of civility and decorum lies behind the meaning of this resolution. Basicgavotte step-sequences consist of three extraordinarymoment; it is distilled into Susanna'scar- step-units followed by a springjoining the feet together, riage. As she sings against the background of the called a pas assemblde.This step, which is commonly used rhythms of the 'Queen of all the dances',we are moved to complete a phrase,is likenedby KellomTomlinson to by her evident nobility, and assuredof the proprietyof a full stop in writing.It is usuallyfollowed by a half-bar her friendshipwith the gentle Countess. rest. The pas assembldis used in the gavotteto reflectthe half-cadence or cadence measures. A typical gavotte would consist of one Dancing the gavotte step-sequence contretempsde WENDY HILTON gavotte,a pas de bourree,another contretempsde gavotte We have some gavotteswhich were published in dance and a pas assembled. notation during the early 18th century. Some are ball- Sometimes a preliminarystep-bend is used to reflect room dances for one couple; others are for the theatre, the two upbeatsin the music. In more complex choreog- where there was a frequent use of the gavotte in rustic raphiesthe pas assembldswill be replacedby a step-unit scenes. Many of the ballroom contredanses which (such as a pas coupd)which moves throughout the bar became increasinglypopular during the 18th century but reflectsthe cadence by being slower than the other were also gavottes. Many of the most beautiful were step-units. those composed by Mozart. In the as in the there is an unusual gavotte, minuet, The gavotte in Mozart'sarias relationship between the steps and the music, which WYE J. ALLANBROOK begins on the half-bar. The shortest musical unit is There are some wonderful moments in Le nozze di 3 4 1 2 but the step-unit proceeds I1 2 3 4 1. So the Figaro and Don Giovannithat use gavotte scansions. Stainer & Bell Ltd PO Box 110, VictoriaHouse, 23 GruneisenRoad, LondonN3 1DZ

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EARLY MUSIC FEBRUARY 1992 147 Leporello'sfoot marchin 'Notte e giorno faticar'of Act 1i made the gavotte their own, turning it into a pastoral is momentarilymetamorphosed into a gavottewhen he hymn set in full vocal splendour,and embellishedwith a thinks of that 'caro galantuomo'Don Giovanni inside musettebass; this pedalpoint rolls out like an organnote making love to his 'bella';the flirtatiousrhythms strike to ground and deepen the coy gavotte,whose innocence just the right note of salon preciosityas the servantimi- no longer seems a mask. tates aristocratsat play.The gavotterhythms emerge in In all these instances it is crucial that the singer or clear contrastto those of the 'footmarch'that opens the singersbe sensitizedto the brief passageof gavottescan- aria,and what might be calleda 'cavalrycharge' that fol- sion and project it clearly,otherwise the point is lost; lows, horns and all, to reflectthe military(and perhaps often, as in the firsttwo cases,the point is made by con- covertlythe erotic) side of the aristocrat'spursuits. trast with another rhythm, here that of the march, and Figaroinflects a gavotteafter march rhythms to some- the differencesmust be projectedclearly. what the same effect in the beginning of his Act i hymn The gavotteappears in a more centralrole in the first to Cherubino, 'Non pii andrai':after a martial con- part of Zerlina'saria 'Batti,batti, bel Masetto',near the tredansein which he addressesthe 'amorousbutterfly', end of Act 1 of Don Giovanni;this aria is her 'reseduc- he grafts an erotic metaphor to the military as he tion' of Masettoafter Elvira has given her a hard look at describesthe page'splumed cap and-here the mincing the dangers of trusting roving cavaliers. Guilty for beat of the gavotteis especiallyappropriate-his 'blush- havingwanted to stray,but savedfrom the actualfall, she ing, womanly complexion'. refusesto beg, but must cajole Masetto back. Her solu- In Act 2 of Figarothe gavotte shapes one entire and tion is an arch parody of submission that is intensely very important section of its magnificent finale (bars sexual: 398ff.). Firstthe Count, confrontingFigaro with a piece Beat,o beat,my fineMasetto, your poor Zerlina: of damning evidence,takes up the gavottewith a disin- I shallstand here like a littlelamb awaiting your blows. genuous innocence that barely masks his malevolent I'll let you pull out my hair,I'll let you carveout my eyes; intent. By the end of this section (bars 441ff.) the co- andthen I'll be happyto kissyour dear little hands. conspirators-the Countess,Susanna and Figaro-have Her appeal is couched in a mixture of musical idioms, Department of Music Technology Headof Department: Terence M Pamplin BA(Hons) LRAM LTCL MBIM FIMIT Cityof London Polytechnic Courses available: BSc(Hons)Music Technology - an innovative3 year course BTECNational Diploma - 2 yearcourse providing broad foundation studies BTECHigher National Diploma- 2 yearcourse offers training to professionallevel Specialisms- anyone of thefollowing subjects may be chosen: Earlykeyboard, Early stringed instruments, Early woodwind, Modern fretted instruments,Violin, Piano (design, construction, tuning and maintenance), Electronicsfor the MusicIndustry Manyother City& Guilds and part-timecourses available

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148 EARLY MUSIC FEBRUARY 1992 which must be, so to speak, deconstructed;it comes in Danielle Strauss,soprano, accompanied by UrsulaHeck- two parts,the gavotterhythms and the powerfulunder- mann and KennethMerrill. Demonstrations of the minuet lay of a cello obbligato.Leaving aside the obbligatofor a and gavotte weregiven by Riccardolazzetta, Luis Peral, moment, we can focus on the force of the gavotte SabrinaSandvi and Chen Yu Tseui,students of the Juil- rhythms.The firstline is a kind of lasciviouspun: its plo- liardDance Division. Costumeswere designed by Thomas sive consonants are onomatopoetic, and the crisp beat- Augustine. ing effect of the dance rhythmscarries the pun over into in the music. To perform the aria deadpan, as a serious WyeJ. Allanbrookis on thefaculty of St John'sCollege invitationto the action Zerlinais proposing,would be to Annapolis,Maryland. She is the authorofRhythmic Ges- She render it grotesque. (This, however,is frequentlydone; ture in Mozart:Le nozzedi Figaroand Don Giovanni. PeterSellars's Zerlina sings the ariain the stairwellof her is currentlyworking on a studyof expressionin the instru- basement apartmentin SpanishHarlem, her eyes cours- mental worksof Mozart. ing with tears.)It is not a sado-masochisticfantasy, but a Hilton is on the theJuilliard School, and playfulapology in which a parody of sexual submission Wendy faculty of teachesan annual Dance serves as a promise of a more profound surrender-a Baroque Workshopfor Stanford She is the author Dance of Court and The- willing returnto the world Zerlinahad brieflythought to University. of ater: The French Noble and flee. The first two lines of the text have gavotte artic- Style, 1690-1725 general editor the Dance and Music series the ulations, and the violins are given gavotte bowings. of for Pendragon Press. Although later in the section the outlines of the dance become slightlyblurred, its clarityat the outset makes it 'Johann Mattheson, Der vollkommeneCapellmeister (Hamburg, the dominant conceit of the 2/4 section. 1739),ii, chap. 13,ss.8o-135; Johann Philipp Kirnberger,Die Kunstdes The with its sexualovertones in reinenSatzes in der Musik (Berlin,1774-9), i, p.202 and n.78 faux-naifgavotte may 2Michael Kelly,Reminiscences of MichaelKelly (New York,1969), i, this context suggestthe courtesan.Perhaps it is in order p.223 to this that Mozart introduces the 3Thepastorale was not strictly a dance, but a style of music; the mitigate impression drone from cello whose within the bar rather compound duple metre, legato and bass are documented obbligato, bowings the early17th century; see 'Pastorale'New Grove.By the later18th cen- than acrossthe bar-lineset up cross-rhythmsagainst the tury,however, it had commonly come to be assumedthat the pastorale gavotte.Its deep sonoritiesand fluid legato moderatethe was a dance;see Johann Georg Sulzer,Allgemeine Theorie der sch6nen Daniel Gottlob Clavierschule effect of the Alberti bass; the smooths and Kainste(Leipzig, 2/1786-7), iii, p.6o; TUrk, obbligato (Leipzigand Halle,1789), trans. R.H. Haggh (Lincoln,Nebraska, 1982), softens the mincing rhythmsof the dance. It is a second P.395.Heinrich ChristophKoch in his MusikalischesLexikon (Frank- layerof affect, graftedonto the gavotte,and plumbing a furt-on-Main, 1802) does not accept this notion, but instead defines level of it Zerlina's the pastoraleas 'a piece that expressesthe song of the idealizedworld of deeper passion; perhaps suggests For a furtherdiscussion of dance types in compound duple loyaltyto and abidingaffection for Masetto,which make shepherds'.meter, see W.J. Allanbrook, RhythmicGesture in Mozart (Chicago, her perverselittle act of seduction finally right-minded. 1983),pp.40-45. It is for the to the two levels of 4Thegavotte was in some of its versions a kissing dance; see M.E. important singer separate Little, New Grove. gesturein her firstreadings of the piece, and to maintain 5The'Gavotte,Spectator, 17 July1711 the gavotte rhythms against the flowing patterns of the 6See GennaroMagri, Theoreticaland PracticalTreatise on Dancing, A. cello, at the same time a and trans.M. Skeapingwith Ivanovaand I.E. Berry,ed. I.E. Berryand A. finding carriage gestures Fox (London, 1988), pp.187-8. that help to reflectthe affect of the dance. This complex 7J.Platoff, 'Musical and Dramatic Structure in the Opera Buffa rhythmiclayering is joyfullyresolved in the second sec- Finale' Journalof Musicology,vii (1989),pp.219-25 tion of the aria,which breaksinto the relaxedand lilting rhythmsof the 6/8 pastorale,evoking the Arcadianbliss Zerlinaenvisions for the two of them: 'Peace,peace, O my life! In joy and contentmentwe'll pass our nights and days.' The cello obbligato continues, but no longer seems superimposed; assimilated into the thinner texture of the 6/8, it now supports the structure of the dance pat- tern. Coquettishness has yielded to heartfelt joy.

This text was presented at the New Yorkconference as a lec- ture-demonstration, with vocal illustrations provided by

EARLY MUSIC FEBRUARY 1992 149