An odd curiosity that exists in some sort of limbo between rondo and variations, although it is couched within the rhetoric of rondo. Its awkwardness could be the result of the odd phrase structure set up in the opening ABA period group. The A sections: the first eight measures are a clear and well-defined parallel period, while the middle section is more curiously defined 6 measure phrases that also articulate four measure phrase groups through the return of the second half of the first period in its middle. Consequently Beethoven sets up a tension between the regularity of the opening and the irregularity of the middle. Phrases that seem to want to overflow their borders are constrained by their boundaries and others overflow them without balancing out the whole. In many of Mozart's works the phrase structures are similarly off-kilter, but the whole sounds smooth. Here the phrases are off-kilter, but the whole sounds jarring. Biamonti has little to say about this work, remarking only: "Il Manoscritto originale è perduto"
Tuesday, May 26, 2009
Rondo for Piano in A major (1783)
Biamonti 5; WoO 49
An odd curiosity that exists in some sort of limbo between rondo and variations, although it is couched within the rhetoric of rondo. Its awkwardness could be the result of the odd phrase structure set up in the opening ABA period group. The A sections: the first eight measures are a clear and well-defined parallel period, while the middle section is more curiously defined 6 measure phrases that also articulate four measure phrase groups through the return of the second half of the first period in its middle. Consequently Beethoven sets up a tension between the regularity of the opening and the irregularity of the middle. Phrases that seem to want to overflow their borders are constrained by their boundaries and others overflow them without balancing out the whole. In many of Mozart's works the phrase structures are similarly off-kilter, but the whole sounds smooth. Here the phrases are off-kilter, but the whole sounds jarring. Biamonti has little to say about this work, remarking only: "Il Manoscritto originale è perduto"
An odd curiosity that exists in some sort of limbo between rondo and variations, although it is couched within the rhetoric of rondo. Its awkwardness could be the result of the odd phrase structure set up in the opening ABA period group. The A sections: the first eight measures are a clear and well-defined parallel period, while the middle section is more curiously defined 6 measure phrases that also articulate four measure phrase groups through the return of the second half of the first period in its middle. Consequently Beethoven sets up a tension between the regularity of the opening and the irregularity of the middle. Phrases that seem to want to overflow their borders are constrained by their boundaries and others overflow them without balancing out the whole. In many of Mozart's works the phrase structures are similarly off-kilter, but the whole sounds smooth. Here the phrases are off-kilter, but the whole sounds jarring. Biamonti has little to say about this work, remarking only: "Il Manoscritto originale è perduto"
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