ESTHER CAVETT-DUNSBY

Ex 9a F Major Piano Duet Sonata/I, coda

z
Y Y Y
297 - L'a

z X1
305

4 16

Ex 9b/I, in
Y

rAdagio t 1,z

tP f P PP

Ex 9c/I, exposition, first subj

z
r 1

Ex 9d/I, exp

64 6 X

-.n

In the finale of the A major Quartet, K 464, the contrapuntal coda evolves
from a four-note chromatic motive (Ex 10a) This motive does more than
merely summarize the thematic material of the finale; it also points back to
virtually all sections of the earlier movements, where the same motive appears at
pitch or in transposition Examples 10b-d indicate just a few of this motive's
earlier settings Example 10b, from the first movement, is the beginning of the
exposition's first subject and the transition to the recapitulated second subject
Example 10c shows how the return of the first theme in the Menuetto is varied
so as to include the chromatic motive And Ex 10d shows that this motive is
absorbed into the bass line when the theme of the variation movement returns as
part of the coda:

42 MUSIC ANALYSIS 7:1, 1988

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 MOZART'S CODAS

Ex 10a A major Quartet/IV, coda

rI Y

10 10 10 -0 -

M.1'

Ex 10b/I, first subject, exposit

/1, transition, recapitulation

---*,,s foI

Ex 10c Menuetto

59
Ay t

Ex 10d/III, theme /III, Coda

162
Andante 1

p .otto voce
F -

.. wr .. -,+
I

MUSIC ANALYSIS 7 1, 1988 43

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