1 Qrarver’ ape ee a, CHAPTER V D. SCARLATII, CoP.E. BACH ‘THE MANNHEIM SCHOOL De Sosiaates In the 500 one-movenent harpsichord sonatas of the Lengo edition, the division is abeut 100 with rest-indicated stops and 400 witheut any at all. The great majority of stops in the sonatas which de have them come between well defined sections of the form. Scarlatti makes frequent use of @ pause ef indefinite duration befere what might be called a secend theme, in both Parts I and II of the binary framework. As this second thene appears in Part II, it marks a quasi-recapitulation in the absence of a reappearance of the first thene. These pauses ef indefinite duration may be a full weasure of rest, a half-rest, or a quarter-rest, all with fermatay there are 52 sonatas which employ them before the second theme, Sometines the full bar of rect with fermate etl] appear’ as many as four times within one soneta, @og+, befere two independent sections or themes in Part I, and in the same relative positions in the recapitulation in Part II, Sometimes the indefinite rest witi= separates two phrases in sequence, In many instances it wiiir fellowa cadence ending with a caseade - a descending scale er arpeggio flourish (Exs. 197, 198). 168169 * The rest with fermata is recognised by Ralph Kirkpat- rick, not as a sign for improvisation, but as an indication of a Gilence held sense migura beywnd the value of the rest. He says, Another of Scarlatti's most startling effects is sudden pause in ence, the empty ure out trast between ets in tie and what is of Sine besenes Ieetal a mt A few examples, including these referred to here by Kirkpatrick, will suffice. | tx. 197. Pence Ca fee. ik Saye © Longo 25 (Kirkpatrick 46), } Sintlarly four tines vithin the senate. an empty bar as the quotation from Kirkpatrick weuld suse. Jnalgh Kirkpatrick, Princstont Princeton vadvereley en, oBypeniee fea ht Corona is 7 correct Italian tera se fet rasta, ant coutonenl17 fx, 198, Soarsactt, Sonata in C minor, Longo 407 (Kirkpatrick Allegro (CB Vol. 9, ps 25). arbiter’im Bre 200. Soarlaces, Songta, ia 6 Longo 87. SoBe + Bash This study of C.P.E, Bach's keyboard sonstas is based upen 65 of these three-movement works contained in Volumes III and IIIT of the collection, Tréfor des Piantates.' Close to 100 movements contain silences, many of which are to be found at clear-cut sectional peints in the form, 4.e., defore what might be termed @ second theme, er before a short closing section, or before the recapitulation, Examples 201 and 202 shew the use of rests at seme of these points, Examples 203 te 211 show other usages viich are discussed as the examples are presented, The abbreviation 2,P. stands for the above- mentioned collection, 1), Farrance, Op. git.172 ise oven kfm 22? BRE 4ae recueil, No. 4, 12, Pe 168). —— » 4 meas, i Before second theme. Bx, 202. Srdvgopeet baateb etn S staccato (TeP. Vols 13, eu Silences before last section of exposition and before the recapitulation,ws Ex, 2030. C.P.E. Bach, Ge novest AESee aE EEE, vol. 12, pe 224)e Fee reed wien renee ie ths aetallel sassege ae the eet ete SEs dovenone fixe 2088 203d). Ex, 203b. Ibid, pe 226. A variant. Compare with Example 203s. Bx. 204, OsP.B. Bach, Ronde An © minor (TP. Vol. 13, pe 474). aoe - _ i i nt sah + +m4 pies. ahente marked (+) were only quarter-rests at sinilar Examples 205 te 208 shew vacated accented beats and anscrusic patterns caused by reat insertions, This is not ua- usual with C.P.B. Bach, Bee 208s Soa moved Aibseee ders WalsTis, p. 373),Ms Exe 206, gobeke sire keen at Bs: a a eb ett ne Wats,» a. Bae 208s oor avert Gantatites SentettE.. Vel. 12, ps 227).vw 176 © miner, Ke 516 (Ex. 265). Be 000 Sratnateet Pests Chobe Wolo, p. 180). ~ gee tvo-measure rests have an iaterruptive effect, the second ilesse providing @ separation for tvo phrases in sequenass Attention should be called to the frequent use “Back37 makes of the expty measure, There are ten movements containing full measure rests without fernate, and one with formate. Right of these movements are in a fast tempo, which means that the full measure of rest would not be ef very long duration. This eeens especially true of the meveneuts in 3/8 taken one-to-the- bar. It has been noted that enly one of the movements hes the full measure of rest with fereata. One would suppose that these without the fernata would be valid, i.e., fully measured, and without improvisation, This viewpsint is supported by the fact that in his Essay on the True Art ef Mlaying Keyboard Jnatra- ments Bach gives these specific directions on the "elaboration of formate" The Elaboration ef Fermate_ 1. Although I have ne desire to discuss embe! embellishment more elaborate than these already treated, I find it adeieabie to say something ane then in connection Se eh geod oftest ye they seeeat metetttretarat ais with a det under it, which denotes thats a on is Be Bald a8 Jeng oe required generalis y by the nature of the 3. At tines & note without the sf belt for pressive reqgend, ‘Aside free thes ft, "thery are jen at sioyer gon meet © ay rath ate eater ear ts an elabora' tly in ali; tye other kines movements and must ave: ssness. In event elaborate decoration is more necessary here178 in other parts of movenents.? ‘There is no mention at all in the Essay of improvising during | or embellishing in any manner, 6 rest measure without the fermata. Example 210 outlines an entire movement in vhich the full measure of rest is used five times, It seems obvious that the dutent of the vacant measures here is ons of expressivenssa. 1y,p.n. Bach, a teaeanne 29 Se AE hea eo ee179 Thm Mannheim School ‘The Harvard Distionary ineludes the Seneralnauge as one of the several features of the nev atyle of the Mannheim School. From the same source comes this definition:180 fergeatestea ee abbreviated 0.P.J 2 works, a rest for the ie pt pestaael ted: r 8c nie hs Uectece man a the reartling intobacions of We have seen slready that certain passages in Handel (Examples 169 to 174) might be construed as general pauses in this sense, providing no improvisation takes place at these Points. We have also seen that 0.P.£, Bech made such effective expressive and formal use of the elongated pause at the ond of forceful passages as te warrant considering this procedure as being representative, in part, of his style. This writer, relying as he does throughout the present work upon collected werks of individual composers, or upon ex~ tensive collections of works of groups of composers, cannot corroborate the last statement in the above definition that “this effect was one of the startling innovations of the Mann- heim Scheel." Nor can he determine how extensively this device was used by the Mansheimers. There are only a few instances in all five volumes of the DT8 devoted to the orchestral and chamber music of the Mannheim School. However, aa the thematic indices in these same volumes would indicate, the printed full scores Gantained therein represent only small fraction of the total output of these composers. Perhaps when more full scores are oes ioe RS ee rere in $f tania, (Canbeidges18) ramoveteyt fhe sesctral preeey “en Tapia atone irae available a claim for the Mannheim School, can be better entablished,? Examples 211 to 218 show almost al? of the cases of general pauses to be found in the five volumes of the DTS men- tioned above. Bee Mile fthmovest Allagre eptefesss (Mtr fo P Rx. 212, ye ano iit nereet sts tn tig ee readily available full scores 1s aleo reflected it = “s Spuphegs ar (toetescet pve Taney asa pachests: re LON» Speer Music, 1953),ie 183 Before second theme. Bx. 213, Ibid. Before recapitulation which omits first theme and starts with second thene. o Td, F Xe \. ote a. ¥. x, Richesrs {yine Guarsec in & flat, Op 2, Me delece aes Before second theme, alee in recapitulation.183 Bx. 215. ig Richeer, Mardersrde, No. 6 in GC minor, lst movt.? WE, Be 3. i, ——_ Bx, 216, Fox. Richeer, Sinfents 8 2nd movt.t Al At ten measures befere return ef first thene. Examples 217 and 218 show series of separated accouncement chords detached from the first theme, Ex, 217. Johann Stamite, Sinfonia in BD maior, Op. 3, No. 2,we Tre ctf AR iat fs a, Transposed to the dominant at the beginning of the development section,185 SUMMARY OF USE OF SILENCE BY COMPOSERS OF THIS CHAPTER = Movements investigated - Wevements with silences - ice Ceareateriatis | Traits Frequent sasle, Male rest with farmes as endential atop before secondary themes (in many instances after s Sequence separations, see een es investigated - 200 Movements with silences - 100 Chapesveriotie Traits Silences esters secondary theme. Expre: sive we ehdenees a Anacruste effects. Full measure rests rather frequent. scores readily available to this writer, Therefore clains for € ie the Manakeiners Ae ie innevaters ef of the general pause sannet be substantiated here.CHAPTER VI HAYDN AND MOZART Aavda In previous chapters it has been considered worthwhile te note the frequency of even slight rest-indicated stops as well as the more interesting (from our point ef view) "self- assertive" silences, A marked inorease in the total number ef movements with reste! of any duration was noted in the instru- mental works of Handel, and particularly in those of Vivaldi, By the time of Haydn the practice ef the use of cadential steps with short rests secus so comeon that it Se fehe thee there is ne longer any need to make special nete of these shorter rests, but rather that attention sheuld be drawn exclusively now to these silences which are definitely “self-assertive" or which may approach that status. Haydn's music is full of them. More than one commentary on Haydn names the general pause specifically as one ef several of his frequent compositional devices. In speaking of Haydn's later _ Paul He Lang says? Ia these works, especiall: 3 Opes 6, and in the s) for nd Has abs Sortie ca Bor se hemepbony and a specific line reader 18 reminded onee more that in the ¢ works arose” aquals “sllenges equals Catal cessation of sound in all parts. 186187 modern instrumental pol; » thematic and melodic rather Shee rhythaic vie. This gave him a freedom 0: heretefere unknown. What pees of imagination hereto: fantastio caverting of meledies, rhythms, a ace Pe: » dynanic contrasts, eneral. ses solded emplosions, disest Tistertions, their aed rf gtntty ef dow! = a sageerpedne a carried eo the ee tiee ure Homer Ulrich, also speaking of the later symphonies, says? & vork of Haydn's has been without iti dovicioes dautfectation of hie ‘effervescent spirie and qaick-wittedness, New ier. ouch, elements come to the fore ts. Unexpec' thematic entrances, false re- capitulations, pauses, settee rds and like among ebvieus of Haydn's humerous effects.2 Bric Blom, in the fifth edition of Grove’s Dictionary, in the paragraphs defining and deseribing the S.P. (Generalpause) cites Hayda as being “particularly fond of the effect of the general Pauses which occur, for example, in every one of the four neve- ments of the "London" Symphony No, 104." Furthermore, com mentaries on specific works containing general pousee/ frequently call special atcention to this particular feature. The following analysis, based upon the symphonies - (with the exception of 17 vheve full scores were not available 1, Ural Me Langs Maths in Wanders Sividiaation (Hew Yorks ¥. Ww. Ragnar Vir Wada (New Yorks Colusbia Universit Posen, 1358) e pen ‘ a188 to the weitey, the complete string quartets, and the complete plane sonatas, preposes to show just how widespread is Haydn's use of the general pause (ene or mere enpty measures) and other self-assertive silences. 1, ‘The Symphonies Out of a total of approximately 330 movenents in the 87 symphonies investigated, clese te 100 have general rests (general pauses) or otherwise self-assertive silences. These range in duration from the eighth rest in slow movements (Example 219) te one of nine beats in a fast movement (Example 220). eee Ree (EF serie 1, Band 10, ps 121).leo Band 10, pe 151). The most frequent rest duration is that of two beats, but rest durations of from four to eight beats in fast movements are not at all unusual, Pirst movements rank first in total number of movements having long rests, finales second, slow movenents third, and minuets last. Apart from frequent use ef long phrasing rests in some expressive slew movements, it would seem logical to expect "effervescent" (to borrow Ulrich's tera) finales in rondo form to provide the greatest number of lengthy steps in any one movement. This is actually the case, There is ene finale rende (Syapheny Ne. 100) with nine, and another (Symphony No, 98) with twelve, Sut these are exceptional, Sven in the rendos there are usually ne more than two to four long rests per movement in those which do contain the silences. The following statistics may be of interest, In Sym- phonies Nusbera 1 to 50, there are fifteen symphonies each baving but one movement with leng rests. In the same group there are three syuphonies with two movements, and three syn-190 phonies with three movements having the long rests. In Symphonies Numbers Sl to 104, the tabulation would run in thie mannert three symphonies, ene movement with silences; sixteen symphonies, two movements} thirteen symphonies, three movements; two symphonies, four movements. In the London Symphonies, Nunbers 93 to 104, this is the frequency! one sym- phany, one movement with silences; four symphonies, two move- ments; five symphonies, three movements; two symphanies, feur mevenents. Symphonies Number 56 to 74, whose scores were net readily accessible to the writer, are missing in this investiga- tion. In the same Grove’s Metionary definition of the general pause cited above, the statement is made that the “device is usually humerous in its effect, especially in Haydn." How bread an interpretation the term "humorous" implies is not in the Province ef the present work. Even if some decision were ar- rived at as to what is humereus and what is not, this author would have no inclination te sert the “humerous” general pauses from the"non-lnmereus™ with view te finding their proportionate frequencios, I¢ seens quite ev§dent, however, from a study of the verks thenselves, that Haydn was aware not only of the Inmorous effect of general pauses - of which there are many instances - but alse ef other, more dramatic effects likewise caused by the general pause. But what appears to be equallyis. important is the fact that Haydn must have been aware of the Power of the general pause (or of any silence of long enough duration) to give delineation te the form - for it is at the dunetures in the form that most of the general pauses, no mat- ter what their effect, are eee ve sbi ‘y ‘The points in sonata format which the long silences seen to occur most frequently are just before the recapitula- tion, before the second theme in the exposition and/or recepitela~ tion, and between sections ef the development, in that order, However, viewing the entire eutput of symphonies as a whole, the silences are placed at any conceivable position along the way from the firet phrase ef the first thems to the last phrase of the movement, Referring te first movements only, silences siti Se found after the first phrase (No, 39)} before the tras- sition to the second theme (No. 94)3 before the second theme (io. 97)3 before the closing theme (No. 35); between the ex- position and development (Ne. 80)s after the first phrase or period of the development (No, 42); between sections in the development a(No. 51)s before or within the retransition (Ne. 87)3 before the recapitulation (No. 45); at sectional points within the recapitulation matching those in the exposition (er appearing at these points in the recapitulation and not in the exposition); before or within the coda (No. 102), Examples 221 to 239 illustrate some of these locatio: Other aspects,192 such as the, tonal situation surreunding the silence, and the effect are noted couggrrentny—— Bee ee TEE Se Dead GME I, Vols 3, pe 165)e — =F Pr = ? Ames, 4} pote tation of the thona Le helghtesed porhaye ty the ailene @ ences, seeeeees SE te only Solate porntpe oy © " Be 222, iat age ae Be Be BOATC, Pe 7)o Lacation: before second theme, similarly in recapitulation, Re-193 duction of dynamic level from forte to Blane, of instrumentation from full to strings, An erasure in preparation ter the iyrickon ef the second thene, ae eas ile a de min, score, ps 3). po Gonasieat Detween exposition and development. Reduction of je and Tnstrasontation and range. Key shift from D nejer eB flat maser. a ee eT nee SEE BPE er score, 9. 10), nS { Location: near beginning of development, Reduction in dynamics194 ee and instrumentation at inning ef development. An effect Deritane ‘> perbaps Log viata Also a shift of key from B tt, ae C miaertenjer ples iD advert titsers Fe Ei. 1, Pe Be Location: between section# a the development. Bes 226 Herta gmebene Mero? ABE PGES | 10, p. 65). een Lee: £ Fal) Leeations within retransitien, Toslation + joni beth sides by fl os Frevides. parbee “contreste ih Jn ayukaicn en ad insti vation is 5 9 and instrument else strengthened by the Silerees, [195 oe Bae eee see Po, p. 268), Lecation: at recapitulstions oe Figs Bs Be ele Hf I, Vols 9, ps Location: at coda.196 ee eas ae ree a ete Even, 2, p. 148). fine. Leeation: at end of movenent, Surprise effect with delayed final pissicato chord. Thies is the first instance in the Breitkopf and Hartel numbering ef the symphonies of a full meas- Ordinarily the harmonic pregression between the two chords straddling @ silence is one of repetition or normal pre~ gression. On occasion, however, the silence is used to prepare @ shift in key without benefit of an intervening modulation, Such is the case in Example 220, above, where there is a shift frem C majer to D flat majer, and in Example 223, above, with the shift from D major to 8 flat major. In Example 230 the exposition ends in F major while the development begins in D flat asjer. Hes 250, tarda, Smee AE HE AIRE esa ot serey pe 8: ~ eS | 1Tt seems an impossible ~ and not really necessary - task to catalog all the subtle as well as obvious effects pre- @uced by Haydn's silences, Te this listener, at the monent, there is a lingering impression of a great deal of the effect of interruption, as though Haydn were saying, “Tou have been enjoying the sounds now let's withirey it for « fev seconds," f This seems especially true ef the few minuets in vhich long silences cccur. Out of the symphonies investigated, they are to be found in the minuets ef Numbers 26, 44, 76, 84, 85, 87, 92, 95, 101, and 104, Examples 231 and 232 sheuld suffice as dllustration, Bee Be es emaaaaettS he Rt Vols 2, pe 184). Koad a sevevatPemba As RARE Weitnars ata. score, = . Tg were anal The C.P. comes eight measures befere end ef minuet,Exe 23ab. Ibid, pe 40, Tris, ew ae 4 dim. Kine measures before end ef first section ef Trice, Most of the leager silences in the slow movements ere the result of natural rhytias such as theser|?.J°y 5] (No. 102) ands 91 2[ (No, 104), Sut eoeasionally there is an enpty measure as in Example 233, which comes before a transition to a vew variation of the thew, and in Example 234, which is « forceful interruption before q short reference, in B flat, te the original theme. Be SET SEA A SESE scare, ye 4).Be 2M Be as A ot Ne DE sore, De 26). 1 oe wa ie This final example (Ex. 235) from the Haydn symphonies J shows the dramatic power of the silence become motivic. V Ba. 235. Ha; yin, a 7 1 score, p» 1).ty meas. BE 2. The String Quartets ‘The complete Eulenburg listing of the string quartets, with the exception of the Seven Last Yords, are included in this Anvestigation. Table IV shows, for each set of the quartets, the distribution of movements containing general pauses and ether long silences, 1 ieee Lat aed (——33_ a 4a a Pat ened [3 aT = 8 [fe ——. — od a ae ed een JS ee eee ge eer 9p ceo [ee ce ee | eee kent Catala Se Ss Total Noo of movtss: 185 Total No. of movts. with silences: 114‘The high sumber of slew movements indicated as having silences is accounted for by the frequent use of phrasing rests CY Debit li fork Pye whose value si2t total, two or three beats if the divided beat prevails as the pulse, as is usually the case in slow movements, This condition exists in the symphonies alee. As in the symphonies, the silences appear at almost any ene of the important junctures in sonata-ferm. Here, too, most are to be found at the recapitulation and between sections in the development, In the rendes, mest aypear before any reeur- rence of the principal theme, The placing of a silence after the first phrase(s) of the development is frequent enough to warrant mentioning, The silence eften has the effect of reader- ing the passage which comes befere it cransitionsl, with the real development starting, net at the double bar, but with the passage after the silence, Regardless of the merits of this argument, Haydn does place the silence in this particular pesi- tion in about twelve movements ef the quartets, It happens in four movenents of the three quartets ef Spus 55. In the syuphontes the shift of dynamic level from forts befere the silence to plane after the silence is almost invar- dably accompanied by a reduction of instrumentation from full orchestra, or strings and weedwinds to strings alone, In the quartets, however, there is usually no reduction of instrumenta- tion in a similar situation regarding dynamics.203 Without compensating fer differences in tempo, the longest silences of the fast movements seem to be one of eight bests in the first movement ef Opus 74, Number 3, and one of nine beats in the finale of Opus 33, Number 2, (See Kxample: 6, pe 6s). In the slow movements the Lengest silence scege te de one of five beats (second movements ef Opus 71, Namber 3, and Opus 77, Number 1), The vast majority of silences in the fast movenents have @ value of twe beats and are represented tn most cases by a fall meamre of rese (2 1; (¢ */ ) er by its equivalent ( is|s/), Although only two beats io duration, these interruptions are very noticeable, | They are really conspicuous in 20 many situations where a bustling of notes prevails. Table V shows the distributions of the number ef long stops or silences por movenent. * Fast movements with | J xs /( ‘**Slov novenent with instrumental recitative. As in the syephonies, the harmonic progression of the herd before the silence te the ene after is usually one of repetition or normal progression, Occasionally there is a sudden shift of key.‘the teasing, humerous practice of the falee ending seens to be reserved for the quartets: in about five instances, (See Xxample 9, above) There are tvoe conditions for the false ending: 1) the building up of @ strong anticipation thet the end is imsinent, This is accomplished by having the closing phrases similar to the closing phrases of the exposition and ending with @ cadence whose finality caunet be doubted. 3) By the inserting of a general pause ef usually at least one meas- ure‘y duration before starting up again, All the situations and effects (change of instrumenta- tien excepted) obtained with silenses in the symphonies are present in the quartets. Ample illustration for the quartets has been given already in Chapter I above (Exe. 6, 7, 10, 17, 27, 29, 30, 31, 32, 37, 38, 60, 66), Three additional illus- trations are given in the following examples (Exs, 236 to 238), Ree 3560 Doraae SWRTESS HARASS MURS ne, 5, ° ty : —— Seize 2 tg. — Bad of climactic build-up at coday reduction of instrunentetion free ft four instruments to oaks "Bee De Te nb Aiads abe? tealsabure hin. score, pe 1). = = —— False ending. aden rials Baas ian 2k ate satya Sia.” score, pe 20). aeHesitations. 3. The Plano Sonatas The self-aseertive silences in the plano sonatas are frequent enough (in about 45 movements) to call attention te then, As in the symphonies and string quartets, most of the silences appear at salient points in the form, and separate harmonies which represent repetitian er normal progression, Key shifts after silences are rare (No. 47, second movement), Some of the situations observed are these: @ silence after a eascade from the treble to the bass in the Scarlatti manner (No. 20, third movements No. 24, first movement} Ne. 29, first movement); @ Glimotic shift from tensien to relaxation of ten- sion (Ne, 45, third movements No, 49, first mevement)s retain- ing of tension (first movementa of Nos. 29, 30, 37)$ expressive phrase separation in slow movement (No. 48, first wovement)s , variance (rest where notes had appeared at comparable peint earlier in the movement) (Ne. 38, first movement); inter- ruption (No. 20, first movements Ne, 49, first movements Ne,52, third movement); separation of motive repetition or sequense (le. 32, third movements Ne. 48, third movenent)s detached ondence phrase or chords (ie; 37, third movements No. 44, second movenent). A few examples are shown here (Exe, 239 to 243), Three other examples (Exs, 13, 18, 25) have been shown in Chapter I, above. oneal Ie vee es a eth NE: 3, pe 219), Ey Sudden reduction of intensity and number of parts at recapitulation, " ne moves’ ME: Ls pe 124). _— we Dramatic interruption of cadence phrase early in recapitulation,™ Me Yast hltgretse alerts HIT, Vols 3, Pe 58), = Saat . \# Separation of final cadence phrasey ne dynamics givens Pe Ata tes ae fame GOWNS, 101), P — petgrryzetve within closing themes used similarly in recap- italation, : : ! Ex, 2436. [bide, De 103. Before retransition.209 Be, 242c. Xbide, Pe 105, * —— — — = Dramatic delay of cadence eherds before the coda. eae aie ies OE See EYONEE: 2, p. 14). Silence after cascade, Locationt midway in development section.20 aa Mee Seat Ee Es, be 99) Cee ae | ‘ tion of motives in wane before final return of principal theme (ronde forays ee Se eer ANE ASE StH SES BNE Hon. 3, p 126).ous interruption, though the performer X is obliged te start ever again, Fie‘Stvice appears severel 2 in the movenent. Mesars, Mowart makes effective use of self-assertive silences, — but, unlike Haydn, is net prolific with this device. It is used sparingly in the syaphonies (in not many more than a dosen move~ ments), in only three of the opera overtures, in nine movenonts of the piano sonatas and fantasies, and in eighteen ont of ap~ proximately 90 string quartet movements. The highest congentra- tion seems to be in the quintets with thirteen mevenents out of Rw wank? use in the concertos,and in cassations, serenades, and divertinentes 1s negligible, (It mst be pointed out, how- ever, that the frequency of cadential stops of ene or two beats before secondary thenen in sonata-forn is very high.) Examples 246 to 268 are few of the mere decisive examples. ‘Two other examples (Exs. 28, 39) are to be found in Chapter I.Bee oe ee PEO IR, HAR S85): Dramatic interruption, delay ef cadence phrase.as Ex, 247, Ibids, po 171. Bx. 248. [bide, pe 172. a piacere : caer fRa. 249, ears fg Pee aia » K. 397. 1 éa3 f sage of moderate excitat Anterry: Tt is more likel; mune Sha filoncn naincains {rather than relasse, censione . Rx, 250, Monart + rarenre Rte sorte V, Nos 20, ps 12). BD Adage Interpolated before S..* nt section; wide separa- fon of reitera' seeds vate chords at openiag of overture,Ex. 251, bide, pe 14, a — + 2524 od me 28 anor maven Radars eraet eae ( nae vit, Nos 2% pe 86). Recap. An unusually long silence — the recapitulation; five beats if the eighth is the beat :ms Mas 253 Monarts Srmphany Ney 9 3A PG: Dorp, 126). — yg? Gon_serd.) 202, e VIII, No. 29, Similarly at end of exposition, at beginning of coda, and at end of movement,me oad bo SRT ae dA 78 . oS } Four-veat interraptien near beginning of development sections a ses SPM PA BEE, wo, = Two-beat cadential stop befere the second theme. Bx. 257, Mosart, Ke 550. * deh movest 8 fe VIII, No. 40, Pe 224). Recap, { Three-beat cadential stop before the recapitulation.ais Bx, 258, Payee Sm toh Sects x1v, No. 19, = 193). Bighth-note is the beat notes three-beat separation before new section,aie ot fas K. 428, rene tere eaitesss S128 PME te TIVs wo. 15, pe 251). —~ tah do Befere last return of printipal theme, -- ‘ Ce eh mere st ein Yo. 18, pe 182). a aie (>) ¢ ag phrase shift: V La 8 tiner oy 6 Silene Stattar stepe pe, Ceithese’ fermata) between sections in lopment» Peompitelation, and in coda,220 a 8° pay ps Exe . Mosart Rowhner, kK. 43%. and movtst a3 Eoaets (Ge Serie x1v, p. 143). fcr ia rich harmonic effect after the silence is enhanced by dis- Te Tite ferrente oftecs efver ce Be 282s ees Seat mene itt Gerke XIV, p. 198). —— aa] Eepereies tay ef ase ae of Sa ome ct ae (four within recapitulation, and in ceda,Bee 2630 eee recehtess CoRR e inv, fe 23, pe 271). Hesitations; similarly at three other places in movement. ‘That there are silences in all four movements of the Quintet in O minor (K. 516) may be more than coineidence, They all seen to contribute te the wistful mood of the entire compe- sition.as Ke S26. legre @ XYIT, Noe 5, po G9)e Ex, 364, Mosart, Ist nove. sitet (CB Serie XIII, Nee 5, 4, ve At degivning of development section, Bee Se ee SEA RSTL 223 - Apparent empty first beats, However, by the placement of the fortes end pianos in measures 4 to 8 and the thickening of the Ghords on beat % of measures 4 and 6, there is a mixing of mbtere stremgthened in part by the reste which now should be considered a5 coming om the second half of the first beat of one measure of 3/2 ead one measure of 2/2, With ali the repetitions this passage is heard six tines, See Example 208 (C-P.E. Bach) for an identical metrical irregularity. EX. 266. Mogert, Quintet in G minor, K, 516 arateere es ‘Adagio ma ni ELenye (CE Serie XIII, No. 5, Be 97).224 Ex. 267. Mozart, Quintet in G Minor, K, 516 Feb moves? AdawtocaTiegro (CE Serie XIII, No. 5, p- 102) mesiff) tadenco | 2F Ex, 268, Ibid., p. 110 s,m ~ 3S Varisnt: the silence and the deceptive cadence do not appear at similar points earlier in the movement.SUOURY OF THE USE OF SILENCE od COMPOSERS OF THIS CHAPTER (Short rests, unless oqvectally noticeable, not taken into account from Haydn en, Anvestigated - 670 Yevenents with tifacces ~ 350 Characteristic Traits effects. th investigated - (ald Snseremeutal works in the eollected jon) Limited use of silence Characteristic sn'forne =, 2 te Rassive postr) (elew novenenes aeCHAPTER VII BEETHOVEN AND SCHUBERT Beethoven Although Beethoven's output in total number of movements of syaphonies, quartets, and sonatas is considerably smaller than that of Haydn, the use of silences appears to he proportionately even greater. They are to be found in 22 out of 37 symphony movenents, in 37 eut of 72 quartet movements, and in 39 out of 95 piano sonata movements. If Beethoven inherited certain formal concepts from Haydn, he may have inherited from the same source the idea of using separating ailences at impertant junctures of the forms, @ procedure to be employed or not as the composer might see fit. What is new, or new emphasis, in Beothoven is: 1) the number of dramatic silences stepped up te a high degrees 2) an increase in the use ef terse motives with separations whieh themselves tend to becone metivic, 3) four or five instances of rests of such long duration as te border on the uncomfortable, 4) several instances vhere the first half of a slow 3/4 measure is made vacant by the omission ef previously heard sounds (this appears to be an innovation ‘with Beethoven), 5) an increase in the use of silences invelved in after-beat patterns and in terminal chord strokes coming at the ends of movements or at the ends of inner sections,1. The Symphonios Table VI shows frequency of important silences and steps in the symphonies, Table VI | Ist Mevt. | Slow Weve. 1 Saherso [Finale Examples 269 to 284 are selected from the symphonies. Additional examples fron the symphonies are te be found in Chapter I (Exs. 2, 6, 13, 24, 45, 46, 62, 63). Bee 260. etmerest Hite at et iat faMacks 2 Per vae'a, pe 12). : anSelden drop in tavenst after abrapt tion fer re onde, 7 Tenshen is retained Secanae of rapl notes after wm Sets AMPA Ly, ave: At the tulation (with lumercus intent. Similar] 2 recaps al ape flyRee Orla Tetinavesd SMtemer sat Sd E HELE: fos 3, me 1 —— } of Bar Gaerne ae cored frequently 't gains @ stridency whese @limax is reached in Ex, 27lb, Ibide, Pe 17. 4 4 4?Be 21s [ehtnavest Aleatersotee (02 Bardot, Ro, 35 ps 12). Phrase extension by long separation of repeated 5 flat unisons, mm srs Rahat 4% ere!Dramatic silence at end of moveneut. 274, Beethoven, Sympheny Hee + Ope 605 ™ Peake te ee he A Rerte 1 he, 2, ps 62). he z h: aera ataiectinare =, twe empty measures give fecling af reat mat enpty measure provides aration before thematic contrast. —-232 Ex, 275. Reethoven 01 lat move. RRS hd 338 by e Biase 55 Pe Se sf | of i Befere secend theme; similarly in recapitulation. Rus 276. Ibides Pe 8. , (has tn ve.) # ; 2 End of exposition, Final phrase in yecapitalation the fey, but vacant measures absent, progressing Ex, 277. Xbide, pe 17. Fistia seta. Tie ot leases in all these three emmples fren the first movement, tve with coe Srey peeetrs, » and one with two eupty measures, are net nce the beat is one to the bar, However, any apprecial eee ert er teeter233 the strident eighth notes is noticeable, Bes 278, pogthavens Jygmbeny ge 5 48 f Miners Ope Ss Interruptions at the beginning ef the fugate section. iad ath moveed sats 5 dae be tas, po 89). # — Separated single atrekes befere second section of the coda, Bre 280. Iieiporect SRS aS AAMT Barter, me 0,by Sequence Before second theme; similarly in recapitulation, Nodulationi; ¥ of E flat to ¥ of D, Hay Bolas pestngrens ARMS Hes 8 thet aelery hs. 3: ps 43).235 Ex, 281b. Ibid, pe Ste yp OE dn OP ~ Bee Sede Get moved Odbarse'(QP sacks #,50005,°9: 7}: Motive seyaration, With the egress single full segsere reste are barely s eeeceeenresrte gives a slight seyaration to236 Ex, 283. bide, pe Sl. oe == rP These stays of three measures are Gensiderably more noticeable than these of one and te measnres ii Example 262, Ex, 284, Ibides pe 143, Abrupt cut-off before leat three measures of movement,237 2, The Overtures Practically all of the Beethoven overtures in the stand- ard repertory have at least ene very noticeable silence. Cerlo- lan, for example, is full of dramatically ponderous pauses, Ec- meat features its famous cut-off, In the introduction of Leguere Nee 2, to cite a third example, there are silences long eneugh to watch the interminable ones in the slow movement of the string quartet Opus 16, Number 1. 3. The String Quartets Table VII shows the frequency of silences and important stepe per movement in the quartets, Table VII Self-assertive silences ogeur in about 39 quartet move- ments. They are apt to appear at almost any point in the form,238 with ne ene location being preponderant, Hovever, the frequent use of silence-separated terse :wotives for openings of move- ments is one of the features ef the quartets as a whole. There are at least ten movements with such openings. Four are shown in Examples 285 to 288. Me 205s Secteovect AUEESSS Mts GAARA: oR ries ‘This measure filled-in in reeapitulation.239 BE RMSE BE Bi, Vol. 2, Pe 2. —— ht Ex, 287, ieee mae test Tab sthteis tai. yw a8). ——=> a $ rs Ts 258, jogthovens es maa ms. Niribao (38 Serte " Tole —Examples 289 to 299 show ether notable silence situations selected from the quartets, Two other quartet examples have been shown in Chapter I (Exs, 3, 20). me ee prey ROS i TPE 5, = near close of exposition, Similarly in recapitula- mE Ree st» Cour2a theme. th-note is definitely felt as the best note, nee these reste ve & avalos of seven beats whish ta rte eerhee tine aia plus to alnes seconds, These haps onge: Silences in the entire Beethoven instrumental Lita nature, Be- s the silences shown here ‘are five others vithin the movement with four beats pores ears ene three with six beats. Rx. 291, Resthovy e 59, Neo. 3. mevtet aie 3 ia Gon mote (CE Serte VI, 4 ee es £ Alls vince £34 Sempre| PPE Leng silence in the midst ef long sustained chords ant-stew harataic rhythe,Ex. 292, Beethoven lst move.t RSs Rf A paler, ira ae a Ss oe Cadena edduya ca dt 2) on, Within wterrensl — of both exposition and recapitulatt capitulation. End element of phrase Sthence is repeated after silence to become first element ef the new phrase, Ex. 293. Beethove: 59, . 2nd moves? Bitpredte ie e Reaecets ‘achersando (CE Serie VI, No. 4 e 3) Pe 14). t Extreme contrast. and strident before silence, to piano, dolce, a ‘after silence. Similarly later in movement.wee es seeterty MBSE ERD SE Mia ad van 243 Bogtnnd ey ef develo; aoe sectiong sin sini lar! strokes which aj are given promiuenoe bere Fepatition wea cee: EEA ES Near close of movement. Extreme contrast; the F major chord (Neapolitan within the ‘ly at coda. we tay): No. 2. » Be 23) (a lent cut-off of This chord is The beginning of the movementat its most extrene range possible with the instruments of the rtet. This passage is repeated a fev measures later with rst violin down an ectave. Bae 296. ior piece at Ee 2% in 43, p. 2). Magato Leading Anto development section. Silent measure has ritarding effect. Ex, 297. Beethoven, Guarset winer, Op. 131. 4th movt. io, Se ee troppo « cones ikea ‘serie | ah Kee > De 16). Empty first beat in measures 1-5.4s Ex. 298. Beetho sharp Op. 131. 4eh moves! eS rhe Se ene ogretta) (CE Series VI, No. 19). epliee meas, le a |etPrierey, shown. The interruption in ond measure of the new movement occurs similarly nine ‘time: it the movement, twice indica‘ with fermata over the bar-line.Ex. 299. Beethoven, Quartet in A minor, Op. 132. Ist movt.t Allegro (CE Serie Vi, No. Si, p. 3). 4, ‘The Plano Sonatas Table VIII shows frequency of silences fer movement in the Beethoven piano sonatas, The duration of the rests is usually not more than tvo or three beats. The longest duration seems to be one of six beats at a fast tempo. No single position within the forms predominates.27 Table VIII a cae ee) LL dddddddddaaddadaaas aadaas |: jaa Examples 300 to 310 are selected from the piano sonatas. ‘Three other examples from the piano sonatas have been shown inChapter I (Exs. 11, 54, 55). Ex. 300. Beetho * sea a SESE AE or serie x Sir vol. 2, my Great dynamic contrast to piano. strong beat; tonshiadeg effect at ehereeieeae, fees Ex. 301. Ibsd., pe 25, Co na At_return pf the "a" theme of the Scherse. Calando effect. Delayed resolution in higher register.249 Bx. 302, Beethoven fat maior, Op. 7. 2nd movt.? fousa ia 3 a mae OP (CE Serie XVI, Vol. 1, ps 6s) Twe successive measures with the first half of the measure vacant, the first inssance before a sequential separation at the same 4; c level, the second before anc extreme contrast of and legato, This particular movenent makes f pe io" silences Stroughene. The second half of the measure is vacant (see Ex. 55 above) in a total of thirteen measures. There are all together four measures with the first half of the measure vacant as shown here.250 Ex. 303. Beethoven Op. 13, . lst movt.} Gra dha BS cen trio (ce Serie IVI, Vols 1, Be 127). Grave. Grave, interlude near ead of moyenent. Vacated accented beats t similar to Example 302, Ex, 304a,. Beethor 1 10, Now 3. " Gea tovesd Saas? Ane etki Be iat" vt, Vol. 1, ps 126). = eed f ae Separation of repeated se There are twelve such twe- ee _fevarating sidences in conjunction vith this motive threugh- the movement. Rx. 304d. Ibids, pe 118.23h Before retransition to second restatement of main theme. fix. 305, Beothoven . lst moves? ea tn EB PRE se seni KY, Vol. 2, ps 268). Phrase separation.252 306. Beethoven, Sonate in A major, Op. 101. Interlude before last movement: Allegretto (CE Serie XVI, Vol. 3, p. 46). —_=> = ~ st ¢ lee it oe Cree : pee Echo separation of indefinite duration. Ex. 507, Beethoven, Sonate in A major, Op. 101. 4th movt.: Allegro (CE Serie XVI, Vol. 3, p. 47). ae :2 EX. 308. Beethoven, Sonats in B flat major, Op. 106. 1st movt.: Allegro (cE Serfe XVZ, Vol. 3, p. 55). — Break of indefinite duration before contrast. two other places in movement. Similarly in