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Schubert's Recapitulation Scripts – Part II

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Schubert's Recapitulation Scripts – Part II CHAPTER 4 CATEGORY 2 RECAPITULATIONS 4.1. Introduction 4.2. Mozart, Monahan, and the Crux 4.3. Beethoven and the Minimally Recomposed Category 2 4.4. Beethoven and Schubert: Labor and Grace 4.5. Repetitions of Single Referential Measures 4.6. A Summary Analysis: The Finale of D. 537 4.7. Conclusion ADD CUT 1. One alteration only, + x 1. One alteration only, - x SIZE a. Minimally different, + 1 a. Minimally different, -1 1. by repetition (at the same pitch 1. deletion of originally repeated level) material 2. by sequence (repetition at a 2. deletion of non-repeated different pitch level) material a. by repetition of multiple referential measures, en bloc (backing up) STRATEGY b. by repetition of a single referential measure (stasis) 3. by composing new material Figure 4.1. Category 2 Strategies. 151 The ways in which thematic and harmonic gestures reappear go well beyond what can be captured by the standard notions of return or recapitulation.1 Like virtually all Western music, the music of the common-practice period is characterized by formal correspondences of various kinds. Such correspondences usually do not form exact symmetries, however, even at the phrase level. This stems partly, no doubt, from distaste for too much repetition and regularity—for predictability, that is, the negative side of the symmetrical coin.2 At this very early date, Riepel could scarcely be expected to realize what he was observing; later, of course, asymmetry would set in on a much greater scale.3 If one does not perceive how a work repeats itself, the work is, almost literally, not perceptible and therefore, at the same time, not intelligible. It is the perception of repetitions that makes a work of art intelligible.4 4.1. Introduction Our discussion of Category 1 recapitulations has shown, among other things, that any “time-altering” thematic transformations are quite unnecessary. This, in turn, gives weight to those recapitulations that do feature one or more time-transformations. If Schubert tends to compose recapitulations mechanistically (so the story goes), then this ought to push the focus onto any rhythmos-altering thematic changes that occur; their accompanying ifs, whens, and hows; and the effects they have on the ongoing sonata narrative. This chapter examines Category 2 recapitulations—those that make a single set of thematic alterations that result in a temporal gain or loss (of any size). After 1 Frisch (2000, 582). 2 Morgan (1998, 2) 3 Monelle (2006, 104). 4 Sontag ([1965] 1966, 35). 152 dispensing with their single time-alteration, Category 2 recapitulations rejoin the thematic track of their referential expositions and continue to track them until the end. Category 2 recapitulations may seem curious in light of the emphasis on symmetry we associate with the classical style. For the composite rhythmos (the exposition-recapitulation symmetry) of any piece whose recapitulation makes one single time-altering transformation is necessarily “skewed” or “lopsided.” Category 2 recapitulations contain, in Samarotto’s (1999, 238) suggestive language, a “rhythmic wrinkle,” where “rhythmic” has been italicized to make it an adjectival form of our noun rhythmos. Category 2 behaviors characterized the songs we saw in Chapter 1, in which the virtual protagonist—the wanderer traversing a musical landscape—experienced macropsia or foreshortening when virtual objects (cadences, themes, will-o-the-wisps) were staged as too close, too soon, or too large, and so on. (Events can of course also be staged as too late, too far away, etc.) The songs we analyzed in Chapter 1 had texts that corroborated the effects of their time-distortions. Here, although we will have to use other musical cues to help generate interpretive readings, the mechanics are essentially the same: expansions tend to suggest—depending on the total musical context—delay, apprehension, work, struggle, ambivalence, inability, or reveling in a dreamlike or pastoral landscape. Contractions can suggest excitement, festivity, haste or goal-directedness, jubilation, and so on.5 Both may suggest, in combination with the score-as-landscape metaphor, visual or temporal or topographic distortions and auditory hallucinations. Whether from a poietic or aesthesic perspective, whether we focus on our perceptions of recapitulations or their perception by 5 I emphasize “tend to,” and “can”; these time-terms cannot be applied algorithmically, nor would such application be desirable. Alterations gain meaning from their context. 153 a virtual protagonist, it is in these contexts—the distortion of abstract symmetry, the staging of excitement or delay, the staging of topographic illusions or altered temporality—that we hear recapitulations that make a single rhythmos-alteration. 4.2. Mozart, Monahan, and the Crux. It will be instructive to begin our discussion of the Category 2 recapitulation by bouncing off some observations made recently about the first movement of Mozart’s String Quartet in Bb Major, K. 458 (“The Hunt”) by Seth Monahan (Example 4.1).6 The recapitulation’s four-bar expansion “by model-sequence,” heard-against the exposition’s referential frame, is the only alteration in the movement. Thus in the recapitulation, the music that had occurred in mm. 27-30 happens twice, once in the original key, and then again in the subdominant, with altered instrumentation. The thematic stylus, as it were, skips back four bars, recapitulating four of the exposition’s measures twice before tracking correspondence measures until the end of the movement.7 Although he says little about its thematic alterations, still we may examine the basics of the Category 2 recapitulation in light of his analysis. The first step is to understand the role of the 16th-note figure first heard in the first violin at m. 42 in articulating the movement’s thematic alterations. For Monahan, this motive, which he dubs “motive x,” seems to “overtake the texture” around every corner. 6 Note that the original Breitkopf und Härtel edition, on which the modern Dover edition is based, omits Mozart’s m. 155 entirely; Example 4.1 in the main text shows corrected measure numbers, which will appear to be one off after m. 154 in the Dover/Breitkopf editions. 7 As the first example of the Category 2 recapitulation, it is instructive to compare the Hunt’s alterations to those made in the Transpositionsreprise first movement of Schubert’s D. 664 (Example 3.5). Like the alterations in the “Hunt” Quartet, those in D. 664 are sequential and move from tonic to subdominant. But because the thematic repetition in D. 664 was already built in to the exposition (in the exposition it was a repetition at the same pitch level), there the alterations take no time. D. 664 features a tonal adjustment with no change of rhythmos; K. 458 features both. 154 . , K. 458 Quartet ” Hunt “ Mozart’s 155 theFirst Movement of tonalAlterations in - . Thematic 1 Example 4. 4. Example It is responsible for the lack of a convincing S theme, which it “nudges out”; it “causes a short-circuit in the unfolding exposition”; it “proliferates like so many brooms from The Sorcerer’s Apprentice.” Perhaps, then, the reason mm. 27-30—and not four other bars— are repeated at the crucial recapitulatory juncture hinges on the fact that the trill (in the first violin, and then in the viola) is like an apotheosizing of that motive. This interpretation also gives support to Monahan’s observation that each action zone of the piece ends with motive x, since TR doubles as the last module of a ternary P theme. Consider the delay the piece’s thematic alterations cause in its ongoing narrative—the deceleration by four bars and the subsequent “pushing-back” of each remaining cadential way station. Perhaps this behavior is tied up with the piece’s continuing response, as Monahan hears it, to its inability to make a convincing medial caesura and its lack of an S theme.8 It would seem, then, that however we wish to interpret them, the recapitulatory thematic alterations, too, are embroiled “in tangles of the mischievous motive x.” Thus one more aspect of motive x to consider is the way it seems to play not within the temporal bounds of the sonata recapitulation, as given by the exposition, but with those bounds. It pushes the recapitulation outwards, distorting its immanent (or if not “immanent,” then its would-be) symmetry. This time-transformation, we may argue, coupled with the music’s vivace ^8, major-mode, jaunty sound world, contributes to what Monahan identifies as the movement’s “deliberately Haydnesque 8 Monahan (6): “It is easy to hear the fallout of this staged medial caesura mishap echoing throughout the movement in fascinating ways.… [Sonata Theory] helped us to establish a more nuanced link between those motivic processes and the formal processes at large; that is to say, it helped us to [relate] them to the staged mishap of the bungled MC.” 156 wit.” As we have seen, it also works quite nicely within his proposed “dramatic musical plot.”9 Notwithstanding the straightforwardness of this example, there is reason to muddy the waters, briefly, in a discussion of ontology. As Monahan’s annotated score makes clear, he hears mm. 168-171 as an interpolation into the ongoing recapitulation; underneath those measures he writes “insertion: P theme in subdominant.”10 (Monahan could have been more specific here, since P unfolds as a ternary theme: if instead of simply P he had written PA, or even PA’, he would have called attention to the fact that this is a repetition of precisely the music we’ve just heard, at a different pitch level. Not only is this a recapitulatory trope—Caplin’s “model sequence technique”—but it is precisely the reason the motivic repetition moves so easily to the succeeding music.) But after identifying the interpolation, Monahan, in a Rothsteinian approach, connects the music that equals m.
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