ESTHER CAVETT-DUNSBY

Ex 3 First Subject

Allegro t

V ned repetition of bs 1ff

--L12-I-I----------

_- .. _

\, LO
cj--

36 MUSIC ANALYSIS 7:1, 1988

This content downloaded from

137.189.171.235 on Mon, 11 Jan 2021 14:35:49 UTC
All use subject to https://about.jstor.org/terms
 MOZART'S CODAS

The recomposition of the first subject in the coda

doing, it evokes a whole family of related moments e
is a detail of the accompanimental texture of b 2 But
repetition of the first subject: b 14 - which might ha
introduces a Neapolitan chord, with Ab in the m
example) And towards the end of the first subject, th
octaves incorporate Ab , again supported by a Neapolit
When the second subject is varied in bs 49ff , Ab is
peaks (Ex 4):6

Ex 4 Second subject, bs 49ff

Ail i

The development begins with an Ab arpeggio - in the rhythm of the first

subject's opening arpeggio - which is transposed to F minor and Db major, so
that the note Ab remains invariant:

Ex 5 Development

r-T-T1

*~i *

The fir
into th
the sec
Ab in
voice e
the se
'rectif
Fundam
Ab con
Ab are
is in f
the p
presen
end a
miss th
elegant

MUSIC ANALYSIS 7 1, 1988 37

This content downloaded from

137.189.171.235 on Mon, 11 Jan 2021 14:35:49 UTC
All use subject to https://about.jstor.org/terms