The 1st movement to Mozart’s Eine Kleine Nachtmusik may seem very simple to the outside and untrained eye; However, this work is extremely complex with its use of unity and variety. The movement uses sonata-allegro form, composed of and exposition, development and finally the recapitulation (recap). The beginning unison line brings simplicity using arpeggios and a largely monophonic melody. This melody (A1, m1-5) has become the most recognizable one in the song and provides a nice lead into A2 (m5-9). The A2 theme contrasts the opening because it is mainly homophonic, and blends together nicely. A2 blends well because the cellos and bass are playing the tonic pitch over and over while the 1st violins have a light flowing melody on top. Measures 9-11 serve as an extension to the A2 theme. The variety in the 1st and 2nd violins creates tension using contrary motion, then leads into a V7 chord and finally ends on a I6 (IAC). This extension seems to want to lead into something bigger, but I believe the listener is deceived when the A3 theme enters at a “piano”. This slightly imitative section (m11-18) is the first time a motive is repeated. This brings a sense of unity to the piece after a deceiving A2 ending. The use of d
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Generally speaking about the exposition there are a few things that should be mentioned. This leads nicely into the B1 section. It gives the same feeling as the earlier transition because it uses the rising D-major scale. The use of complex rhythms including syncopation, the increase in interval leaps and most importantly dynamics create tension in this section. These components add variety but in the end bring unity to this complex work. Measures 54-56 introduces a new theme and ends on a V7 to I (in D) this is the end of the exposition and thus sounds final. When Mozart brings in a new them he will often put a previously heard theme around it to bring a common ground to the variety of themes. The section grows louder and louder and there seems to be no release, rather an abrupt stop. The development is when the composer should introduce variations on the exposition melodies by rhythm, key or texture changes. Next in the exposition is the B1 section (m 28-35). The next few measures (m18-28) are the transition. In fact, the entire exposition is very complex mostly made by the variety of themes and the asymmetrical sections which is, once again, something not usually seen, and therefore adds complexity to the movement. The dynamics are static, and the listener is lured into a feeling of calmness.
The recapitulation is almost exactly like the exposition, this becomes a unifying element to the movement. This leads us to the recap very nicely.
Approximate Word count =
943
Approximate Pages =
4 (250 words per page double spaced)
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