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An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria Von Weber

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An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria Von Weber An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2012 by Wen-Mi Chen B.M., Peabody Conservatory of Music of The Johns Hopkins University, 2000 M.M., Peabody Conservatory of Music of The Johns Hopkins University, 2003 Committee Chair: Steven Cahn, Ph.D. Committee Member: Ronald Aufmann, Professor Committee Member: Samuel Ng, Ph.D. Abstract Sonata Theory recognizes five types of sonatas based on their rotational designs. The first movement of most eighteenth-century concertos is classified as a Type 5 sonata (concerto movement) and is the most complicated sonata design due to the great variation that exists among individual Type 5 movements. This document contains a brief introduction to Hepokoski and Darcy’s Sonata Theory and a summary of the Type 5 sonata. Chapters two, three, and four are extensive studies and analyses of the clarinet concertos composed by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber. Comprehensive comparisons of these concertos are provided at the end of chapters three and four. Diagrams 2, 3, and 4 are the result of examining these concerto movements. They indicate the sections, zones, and modules of a sonata form in the movements. Appendix A is a list of terms and abbreviations that are used in the analyses. In addition, Hepokoski and Darcy’s Type 5 sonata default settings and options are included in Appendix B. i Copyright by Wen-Mi Chen 2012 Acknowledgements It would not have been possible for the completion of this document without the assistance and support of the kind people mention here. I am sincerely and grateful to my committee Dr. Steven Cahn, Professor Ronald Aufmann, and Dr. Samuel Ng for their profound knowledge, support, and guidance they showed me throughout my research. To those who supported the efforts for this document: Shirley Longstreet and Christine Pass—thank you for your advice, hard work, and dedication. iii Table of Contents Introduction ..................................................................................................................................... 1 Chapter I. A Summary of Hepokoski and Darcy’s Sonata Theory—Type 5 Sonata ..................... 2 Section 1. Overview of Type 5 Sonata ....................................................................................... 5 Section 2. R1: The Opening Ritornello, R1 ................................................................................ 8 Section 3. Solo and Larger Expositions: Solo 1 + Ritornello 2 ................................................ 11 Section 4. Development and Recapitulation: From Solo 2 through Ritornello 4 ..................... 14 Chapter II. Wolfgang Amadeus Mozart’s Clarinet Concerto, K. 622 .......................................... 17 Chapter III. Louis Spohr’s Clarinet Concertos ............................................................................. 29 Section 1. Clarinet Concerto No. 1 in C minor, Op. 26 ............................................................ 31 Section 2. Clarinet Concerto No. 2 in Eb Major, Op. 57 .......................................................... 43 Section 3. Clarinet Concerto No. 3 in F Minor, WoO 19 ......................................................... 58 Section 4. Clarinet Concerto No. 4 in E Minor, WoO 20 ......................................................... 73 Section 5. Conclusion ............................................................................................................... 83 Chapter IV. Carl Maria von Weber’s Clarinet Concertos............................................................. 87 Section 1. Clarinet Concerto No. 1 in F Minor, Op. 73 ............................................................ 88 Section 2. Clarinet Concerto No. 2 in Eb Major, Op. 74 ........................................................ 101 Section 3. Conclusion ............................................................................................................. 111 Chapter V. Conclusion ................................................................................................................ 113 Appendix A. Terms and Abbreviations ...................................................................................... 114 Appendix B. The Type 5 Sonata Default and Options ............................................................... 115 Bibliography ............................................................................................................................... 120 iv LIST OF MUSICAL EXAMPLES Chapter II. Wolfgang Amadeus Mozart’s Clarinet Concerto, K. 622 Example 2.1 R1:\P (mm. 1-8); R1:\S1 (mm. 25-31) and R1:\S2 (mm. 31-39) ............................. 19 Example 2.2 S1:\TR1.1, TR1.2, and TR1.3, is a case of sujet-libre transition (mm. 78-103) ......... 20 Example 2.3 Tri-Modular blocks (mm. 104-134) and Closing zone (mm. 134-140) within the S1 ........................................................................................................................................... 22 Example 2.4 S2, reference of P theme (mm. 172-176) ................................................................ 24 Chapter III. Louis Spohr's Clarinet Concertos Example 3.1 R1:\P0 (mm. 1-5) ..................................................................................................... 32 Example 3.2 P theme within the S1 (mm. 23-34) ........................................................................ 33 Example 3.3 TI1 and TR1.1 (mm. 40-50); TI2 (mm. 55-60); TR1.2 (mm. 61-63); TR1.3 (mm. 69-72); and S theme (mm. 88-92).................................................................................................. 34 Example 3.4 S1.2 (mm. 101-105) .................................................................................................. 36 Example 3.5 S theme (mm. 88-89) and the opening melody of Solo 2 (mm. 151-154) .............. 37 Example 3.6 The opening of S2 (mm. 151-169) .......................................................................... 38 Example 3.7 S2 section (mm. 181-193) ....................................................................................... 38 Example 3.8 Subtype B in Spohr’s Clarinet Concerto No. 1, Op. 26, 1st movement .................. 40 Example 3.9 R1:\P (mm. 1-8) ...................................................................................................... 44 Example 3.10 R1:\TR1.1 (mm. 9-13); R1:\TR1.2 (mm. 20-26); R1:\MC (mm. 35-42) ................. 44 Example 3.11 R1:\S (mm. 44-51) ................................................................................................ 45 Example 3.12 R1:\TR1.2 (mm. 90-92) and TI (mm. 100-102) within the S1 ............................... 47 Example 3.13 DE1.1 (mm. 141-142)............................................................................................. 48 Example 3.14 R2 (mm. 158-180)................................................................................................. 48 Example 3.15 R2 to S2 (mm. 178-186) ....................................................................................... 50 Example 3.16 S2 (mm. 199-206) ................................................................................................. 51 Example 3.17 S2 (mm. 216-240) ................................................................................................. 52 Example 3.18 Subtype C in Spohr’s Clarinet Concerto No. 2, Op. 57, 1st movement ................ 54 Example 3.19 R1:\S (mm. 15-39) ................................................................................................ 59 Example 3.20 R1 (mm. 1-58)....................................................................................................... 59 Example 3.21 R1:\P within the S1 (mm. 56-86) .......................................................................... 62 Example 3.22 S1:\TR (Sujet libre type of transition, mm. 93-96); DE (mm. 145-148) .............. 64 Example 3.23 MC within the S1 (mm. 102-116) ......................................................................... 65 Example 3.24 R2 (mm. 166-169)................................................................................................. 66 Example 3.25 Central action (mm. 193-198) ............................................................................... 67 Example 3.26 Central action merges to RT, and continues to R3 (mm. 201-211) ...................... 68 Example 3.27 R4 (mm. 307-317)................................................................................................. 69 Example 3.28 Subtype A in Spohr’s Clarinet Concerto No. 3, WoO 19, 1st movement ............. 70 Example 3.29 Subtype A in Spohr’s Clarinet Concerto No. 4, WoO 20, 1st movement ............. 73 Example 3.30 R1:\P (mm. 1-8) .................................................................................................... 73 Example 3.31 R1:\TR1.1 and R1:\TR1.2 (mm. 25-38) ................................................................... 74 Example 3.32 R1:\S1.1 and S1.2 merges to C (mm. 44-62) ........................................................... 75 Example 3.33 TR1.1, TR1.2 (new theme), and TR1.3 within the S1 (mm. 97-114); S theme......... 76 v Example 3.34 S2 module (mm. 184-205) ...................................................................................
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