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Mozart's Violin Sonata No. 21 in E-Minor, K.304 - Composition Technique

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In early 1778, Mozart was touring from his home in Salzburg to Paris. Stopping in Munich and
Mannheim first, Mozart composed many sonatas on this journey. A collection of these includes
seven Violin Sonatas (No. 17 – 23). The E-Minor Violin Sonata, No. 21/K. 304, is the only minor key
sonata in this collection. I decided to take a look at this sonata, in part for that reason, but also
because I found the clarity of its composition compelling. Using texture to clearly state themes
and then present interesting variants, I think it’s a good demonstration in what I think can be
easily forgotten as a composer or arranger: less can be more. Below I explore the works contextual
origins, before analysing the first movement in more detail, focussing on its composition.

A turbulent period for Mozart. The E-minor Violin Sonata (K. 304)
was composed while he was on a tour that would take him to Paris.
He would also stop off at Munich and Mannheim. Intended as a trip
to grow and spread Wolfgang’s reputation as a composer and
performer, Mozart, along with his family, was hoping he might also
escape Salzburg and Archbishop Colloredo, gaining new
employment in a more favourable court, where he would be
allowed to flourish.

Mannheim, a court held in high regard for its musicians during this
time, is where the E-minor Violin Sonata originates, before being
completed in Paris. There is speculation that the Violin Sonata was
written as a response to Mozart’s mother’s death. However,
according to the description of the linked performance below,
Anna Maria’s death, in Paris, succeeds the first movement and,
possibly, the second movement’s completion, undermining this
hypothesis. (I made an attempt to find the sources that discuss the
paper dating in the above source. However, I was unable to locate
them. If anyone knows where it is, I’d love to know!)

Cambridge
Magdeburg Potsdam
TheHague°Netherlands
London
Antwerp? Esseno Leigzig
Dresden
n Brussels Cologne Germany
Brighton oLille
Belgium
Frankfurt Prague

Rouen 0to53hr Nuremberg Czechia

O 992km cOMannheim
Caen

Paris0*
Strasbourg©
Vie
Freiburgim
°Breisga
ll )Salzburg
ingers TourS -Zürich
O
O
Liechtenstein Graz
O

Switzerland
France oLausanne
alle

Limoges Clermont-Ferrand Lyon

SloveniaZagre
O Trieste
Milan Verona Venice
O
O
Grenoble
Padua

rdeaux
Croatia

Unfortunately, there isn't an 18th-century road or stagecoach option

for Google Maps. However, there is a reason people stayed in places
for a while when visiting: it took a great deal more time and energy
to get between places back then. It's 53-hours of cycling though... if
you wondered.

Surrounding grief-stricken laments, there is a more compelling

argument around the later A-Minor Piano Sonata No. 10, k.310,
which does succeed Anna Maria Mozart’s abrupt death and is the
first minor-key composition to do so. Julia Nagel puts forward a
psychoanalytical case that outlines features in the Piano Sonata
that set it apart from others composed by Mozart, and why the
composition, therefore, could be a response to his mother’s
death.

Toying with this line of enquiry, one can speculate on a different

emotional basis for the composition of this E-Minor Violin Sonata.
While in Mannheim, Mozart became particularly fond of Aloysia
Weber, a soprano who was the older sister of Wolfgang’s later wife,
Constanze. (The portrait of Mozart I use in the image for this post
is actually by Aloysia’s later Husband, Joseph Lange, Mozart’s
eventual brother-in-law.) Delaying his departure, it was only under
duress that Mozart finally succumbed to his Father’s pleas to move
on to Paris in March of 1778. Its possible, although speculative, to
suggest the E-minor Violin sonata is a response to this duress, at
having to leave Aloysia, in Mannheim, and move on to Paris.

There are several novel qualities in the Violin Sonata that facilitate
speculation on its geographical and emotional origins. For instance,
the 1st subject of the Violin Sonata’s 1st movement has a
combination of interesting characteristics. These are its upward
skipping contour, reminiscent of a Mannheim rocket, combined
with the bel canto style lyricism typical of Mozart’s writing.
Emphasised further by the minor tonality, these qualities generate
a potent feeling of melancholy, reflective of his reluctance and
despair at leaving love behind in Mannheim.

MozartViolinSonatainE-Minor
Bar1-12,FirstSubject

Mannheimrocket,
Legatoarticulation, epf' ertepflp yolor
Pianodynamic

Shortar ticulation,
Fortedynamic

The opening 12 bars of Mozart's E-Minor Violin Sonata (K. 304),

annotating the contour and the juxtaposition of legtato-piano and
staccato-forte.

Sogno di Volare – Music Composition Techniques

In this article/video, I take a look at the composition technique used

in Christopher Tin's composition for Civilisation 6, Sogno di Volare.
Unearthing more than I expected to, there is a range of techniques
to take from this piece. For example, the interconnection of musical
structures and the use of established form.

Read More »

The second quality of this first movement is its juxtapositions of

dynamics and articulation, creating abrupt shifts between brooding
melancholy and irritable frustration. There are regular switches
between forte and piano, frequently accompanied by alternations
from legato to staccato playing. Considering the second movement
as well, which uses dolce and sotto voce markings, along with
crescendos and diminuendos, to add further dynamic range, these
are significant details. Across Europe, the Mannheim court of
musicians had a reputation for being particularly capable of
realising such dynamic nuances and sudden changes in their
performances.

The minuet and trio, second movement, boasts additional

emotional qualities of lovesickness. In listening to and analysing the
piece, the outer minuet sections remind me of emfindsamer stil or
the sensitive style of music composition. Notably explored by JS
Bach’s sons CPE and WF Bach. Using suspensions, appoggiaturas
and melodic and accompaniment textures, there is an undeniable
sensitivity to this movement that could be attributed to Mozart’s
sadness at having to leave Aloysia Weber behind in Mannheim. Or,
if the composition of this movement does succeed the death of
Anna Maria Mozart, then it could also be a response to that.
Referring tentatively to the source I’ve not been able to… source, in
original form at least, the second movement was written later.

Speculative, I find these musical and contextual relationships

compelling to explore. One can find a clear influence of distinct
Mannheim features and sensitivity in Mozart’s Violin Sonata. Often
described as a sponge, the deliberate referencing and use of such
musical language, by Mozart, are very plausible. The rare use of a
minor mode also facilitates speculation on its emotional origins.
However, albeit less exciting and mystical, the reasoning could be
much more straightforward. Mozart had composed five Violin
sonatas on the trip already. Each of these was in a major tonality.
Perhaps, in a bid to demonstrate versatility in his craft–to potential
employers–Mozart composed a minor tonality composition that
showed off his ability to express sensitive emotions? Come to think
of it. I think I prefer that last one. I wish I’d thought of it sooner!

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Thank you.)

Mozart - Violin Sonata No. 21, E Minor (K.

304), 1778. [Score Video]

Mozart - Violin Sonata No. 21, E Minor, K. 304 [Szer…

Mozart’s Violin Sonata in E-Minor, K. 304 has two movements: a

sonata-allegro and a minuet and trio. Two movement sonatas were
not unusual at this time as, while sonata form was perpetually
developing, these were its formative years. Just as the symphony
was transitioning from three to four movements, the sonata was
going from two to three. This sonata is one of the last that Mozart
composed in two movements. He experiments with the 3-
movement schema when composing his piano sonatas during this
period. (K. 309, Piano Sonata No. 7, for instance, has three
movements. Its composition is believed to be a little before the E-
Minor Violin Sonata.)

In this analysis, I want to focus on the first movement. I believe

there are valuable concepts that can still be learned from this
movement that will enhance our thinking as composers and arrangers:
particularly the presentation and control of musical ideas. Therefore, for
this analysis I want to pay particular attention to the overall structure of
the first movement: how Mozart orders his ideas within the larger
sonata schema; and how he develops his themes, looking particularly at
his use of fragmentation in polyphonic textures.

The structure of K304 is a broader sonata procedure. A form, as I

have said, in developmental flux, it is possible to distinguish
functional periods within the Violin Sonata that can be defined and
labelled as sonata form sections. For instance, the work has a clear
exposition, where Mozart communicates the thematic material to
his audience. The development section is where the bulk of
thematic variation is. Although in reality, the development of ideas
is not confined only to this section and Mozart does compelling
things with his melodies while in transition, between statements
and restatements of the main melodies. The development section
is, typically, in a different key to the home key of the sonata, while
the recapitulation restates themes in the home key. Mozart follows this
strategy by modulating to B-minor for the beginning of the
development section, returning to E-minor in the recapitulation.

Bar Section Sub-section Tonality Texture ThematicDetails(T=Theme;S=Subject)

1 M T1&T2
Subject1 Em
13 M&A T1
19 Am<->Em TransitionalMaterial1
Transition
27 C,G,C,D,G,Gm H TransitionalMaterial2:(S2)T1(Fragmented;)
43 Exposition Subject2 M&A T1

57 G Homophonic (S2)T1(Fragmented;altered)
75 Transition M->H (S1)T2(restat.;majormodetransposition)
65 Em->G H->M&A (S2)T1(Fragmented;liquidated)
75 Codetta G->Em P(canon) (S1)T1(majormodetransposition)
83
Development
S1&S2 Bm M->P Bothsubjectgroupsincounterpoint
98 Transition G,Em,Bm Homophonic S2(T1)fragment
108 Subject1 Em M&A T1
118 Am<->Em TransitionalMaterial1
Transition
126 F,C,Am,Bm,Em H->M&A TransitionalMaterial2:(S2)T1(Fragmented;)
143 Subject2 M&A T1(minormodetransposition)
Recapitulation Em
151 Homophonic (S2)T1(Fragmented;altered)
157 Transition Em/B M->H (S1)T2
171 Em<->Am H->M&A (S2)T1(Fragmented;liquidated)
180 Codetta Em P(canon) (S1)T1
190 Coda Subject1 Em;Am<->Em;Em M&A T1&TransitionalMaterial1restatement

Structural breakdown of the first movement to Mozart's Violin

Sonata in E-Minor (k.304) Highlighting Sonata form the table also
highlights other details such as texture and tonality.

Aesthetic for this period, Mozart uses closely related keys. On a larger
scale, Mozart follows a typical modulatory schema. The work starts, in
the exposition, and ends, in the recapitulation, in the home key of E-
minor. For the second subject and development section, Mozart
modulates to two different keys. In the second subject, the composition
moves to the relative Major, G, and in the development to the minor
dominant, B. A typical strategy of this time, many works, including
sonata form movements, start in the home key, modulating elsewhere
through middle sections of the composition. Usually to a relative or
dominant key, which is what Mozart does here.

Including smaller scale modulations, if we look at the circle of 5ths,

we can more easily see the closeness of all the keys Mozart uses in
his work. To distinguish the larger scale modulations, I use red
circles. For the smaller, passing modulations I use blue circles. In
combination with the above table, the 2nd subject and
development section are where the work stays within these
different keys for the longest time. It is in the transition section
where we have passages that pass through many keys quickly, but
in so doing, we travel the furthest from the home key of E-minor.

The most distant modulation here is the parallel major-minor

switch in the expositions transitionary section, where Mozart
modulates directly from G-Major into G-Minor and then back again.
However, despite being visually more distant, the fact the two are
parallel tonalities means they share the same root and core
harmonic tones. For example, Mozart uses a D-pedal through this
passage to both underpin the G-minor but also build excitement, in
the form of a dominant preparation, for the second subject, which is
in G-Major. D is the shared dominant of both G minor and major,
being the 5th degree, or V, of G (major and minor).

Major

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Red highlights core, larger scale modulations where the
tonicisation of each key is static for longer. Blue circles highlight
tonalities that are passed through, only briefly tonicised. As can be
seen, the keys are all closely related, often adjacent, on the circle of
5ths.

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! ! !

Along with modulations, Mozart also uses texture to create interest

and clarity in his thematic material. (Similar to Guiraud’s use of
texture for Bizet’s Farandole.) Melody and accompaniment is the
prominent texture of the composition. However, Mozart also makes
use of Polyphony. Homophony is used sparingly, used most
frequently within inner voices as part of a larger melody and
accompaniment texture.

To me, the opening monophonic texture of Violin and Piano in

octave unisons is a startling opening. Especially when mixed with
the piano dynamic level and brooding minor tonality. This response
could, in large part, be due to Mozart’s often upbeat, major tonality
compositions. It is a stark contrast within the larger context of his
catalogue of works.

Mozart uses monophony, or more frequently, melody and

accompaniment in sections where initial thematic statements or
restatements happen. In these passages, the accompaniment part
switches between two forms. Firstly, broken chord, Alberti bass
figurations and, secondly, chordal structures, reminiscent of
homophony. (While homophonic between the chordal voices, often
in a particular hand of the piano, in the larger textural context they
play the role of accompaniment.)

Two forms of Melody & Accompaniment from K. 304: (1) block

chords & melody; (2) broken chord figuration & melody.

Mozart also uses two forms of polyphony in this composition: canon

and imitative counterpoint. In the passages that I label as codettas,
Mozart presents the first theme, of the first subject, in a 2-part
canon. This textural distinction, along with their positioning: just
before the repeat markings, is what led me to distinguish them as
codettas. In the transition sections and development section Mozart
uses imitative counterpoint. Clearest in the development section, this is
where Mozart counterpoints themes of different subject groups. He uses
polyphony as one of the large scale ways in which to develop his
material.

The opening theme, presented as a canon at the end of the

exposition. (The left hand of the piano is bass clef)

I do not think it is an accident that there is a correlation between

exposition, restatement and melody and accompaniment textures,
while polyphony is reserved for transitional and development
sections. Melody and accompaniment textures inherently elevate
the prominence of melody. In stating his themes, Mozart wants us
to identify them with ease. The satisfaction of a sonata form, from a
listener’s perspective, is being able to hear these themes and then
spot them in more complex variations and settings. In other words,
as the composer, Mozart wants us to identify his themes, so he can
show us how clever he is in developing them.

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How to repeat melodies without them getting

boring… [Video]

A video composition lesson looking at textural variation as a device

for melodic development.

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Thematically I have already alluded to two ways in which Mozart

develops his material. One of these is through modulation, taking
his themes through different keys. Another is through setting them
in different textures. These changes are broader, with Mozart
imposing the challenge of fitting each idea into a new tonal or
textural context. However, Mozart also uses a smaller-scale
developmental technique known as fragmentation. I want to
highlight his use of this technique, by extracting the original
melodies and some of these developments, as they are still useful
techniques that we can use today in our music-making.

The first theme that Mozart presents is a lyrical, bel canto style
melody. With the anacrusis it spans 8-bars. The second 4-bar
phrase is important in the development section, as we will see,
while its opening arpeggio figure that I liken to a Mannheim rocket
is distinctive. Its inner contours are largely upward, but on a larger
scale it is always falling back to where it started.

The first theme of the second subject has two distinguishing

characteristics. The first is its emphasis on dotted rhythmic patterns,
followed secondly by its V-shaped contour. The dotted rhythms are
particularly important to developments of this theme within the
transitional sections of the work (yellow annotation, in below
image). While the descending, straight quaver passage (blue) and
octave leap (yellow) become important in the development section
of the composition.

Distinct from one another, below, I have extracted each of these

themes, annotating their characteristics.
 Theme 1 of Subject 1 and Theme 1 of Subject 2 from K.304.

The second subject theme has the most smaller-scale

developments. In the transitional sections of the exposition and
recapitulation, we can extract several iterations of the dotted
rhythm, fragmented from the theme. While it is possible Mozart
composed the work linearly, there is further reinforcement of the
lessons learned from arranging London Bridge, and the non-
linearity of ideas in the composing process. For instance, it is also
just as possible that Mozart had composed his two subjects and
then figured out the transition afterwards.

Example of Subject 2 preempting itself in the preceding transition

section. Annotations highlight the fragmentation of the dotted
rhythm from subject 2, theme 1 (see previous image).

In the development section, Mozart uses larger fragments of the

themes, placing them in counterpoint. The use of the first theme is
clear, appearing first in full form. The only apparent change, initially,
is its transposition into the key of B-minor. Mozart then fragments
this theme, focussing on the second 4-bar phrase, counterpointing
it with both itself and a fragment of the second subject.

The second subject’s use is less obvious. Mozart fragments the

second portion of this theme where the melody descends in
straight, rather than dotted quavers. He then alters the rhythm,
while maintaining key intervallic and contour features. Placing the
extracts together, with annotations demonstrates the second
subjects use in this section of the composition.

Placing the themes in a different texture is a larger-scale way of

developing the material. Mozart can extract larger fragments,
juxtaposing them to create a compelling moment of polyphony. All
the while he is not reinventing the wheel, using material he has
already exposed.

Annotation of the development section. The colours correspond to

those used in the image that extracts the two themes: subject 1,
theme 1 and subject 2, theme 1.

! " ! # $

I always think of sonata, or any established form for that matter, as

being like a species of animal. Similar forms have underlying
skeletons that might be indiscernible beyond species alone.
However, when you give them their form, adding the flesh, skin and
hair (if its fortunate enough to have any…) the variety becomes
much more vast. We can identify individual people or animals
through their appearance, just as we can identify different pieces.
However, if you look under the surface the structures can be very
similar.

Thinking about this similarity of the underlying structure but the

difference of outer form. The first, broader, takeaway is one of
exploration. Why not explore established forms in your writing?
Mozart, in my opinion, was an exceptional exploiter of form, creating
novelty within its confines. I think this is also why his music has
entered and remains firmly within the western musical classical
canon. In using forms we understand his music immediately
becomes more accessible as we know how to listen to it and, as a
result, appreciate it. Now, appreciation might not be an aesthetic
goal and I’m not saying it should be, but its a concept that is helpful
to be aware of.

On a smaller level, Mozart’s E-Minor Sonata, No. 21 (K.304),

demonstrates techniques we can try and apply in our work. Even if
we dress it up differently! For example, while we might not want to
use many I-V relationships, we can certainly use texture and
melodic fragmentation to develop our musical ideas, refreshing
them for our listeners. In your next composition or arrangement,
why not try counterpointing fragments of your melody in a small
passage of your work? Why not use a texture you use less
frequently at an important point in the work, perhaps the
beginning, taking your listeners by surprise?

Auke J2 (2012) Mozart Piano Sonata No. 8 in A-Minor KV. 310,

Grigory Sokolov [Video].

Bartje Bartmans (2016) Mozart – Violin Sonata No. 21, E Minor, K. 304
[Szeryng/Habler] [Video].

Gay, P. (1999) Mozart. London: Phoenix.

Mozart, W. A. (1778) Violin Sonata in E minor, K. 304/300c [Musical

Score]. Leipzig: Breitkopf & Hartel, 1879.

Nagel, J. J. (2007) Melodies of the Mind: Mozart in 1778. American

indigo 64(1), pp. 23-36.

Reitenga, B. (2011) A comparative analysis of the role of the violin in

the sonatas of Wolfgang Amadeus Mozart, with special attention
to the early sonata k. 304 and the late sonata K. 526. MA Thesis.
Ball State University, Indiana.

Wikipedia (n.d.) Kochel catalogue [Website].

Wikipedia (n.d.) Violin Sonata No. 21 (Mozart) [Website].

Gilderoy Lockhart – John Williams The Lark Ascending (Music

(Impromptu Melodic Analysis)
" 21st Century, Analysis, Film Music
An impromptu analysis of the comedic melodies
John Williams created to underscore the devious,
Gilderoy Lockhart, in Harry Potter and the
Chamber of Secrets.
Composition Analysis) – Ralph
Vaughan Williams (Article 1 – Lessons
in Harmony)
" 20th Century, Analysis, Concert Music
An analysis that looks at modality (modulation &
interchange), pedal points and chord voicing in
RVW’s The Lark Ascending.

How to repeat melodies without 5 ways of Understanding woodwinds

them getting boring… [Video]
" Composition, Concert Music
A video composition lesson looking at textural
variation as a device for melodic development.
" Concepts of Music, Orchestration
This week I was fortunate enough to stumble on a
YouTube video by composer Zach Heyde. In this
video he analyses the …

Arabesque No. 1 – Claude Debussy Spiegel im Spiegel – Arvo Pärt

(Music Composition Analysis)
" 19th Century, Analysis, Composition
An analysis of Debussy’s Arabesque No. 1, looking
at structure, melody and harmonic language.
" 20th Century, Analysis, Composition
Unpicking the serenity of Pärt’s Spiegel I’m
Spiegel: Tintinnabuli technique is recapped along
with the identification of other creative
constraints.

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