The 19 Minuets by Leopold Mozart as an Example of the 18th Century School of Chamber Music Performance
Main Article Content
Abstract
This article examines the established laws of construction of the primary musical text (i. e. the musical score as written
by the composer) from the first half of the 18th century, notated for clavier, but possessing attributes of chamber music,
which are expressed by various semantic structures (stable intonations and dialogic models). The methods of creating
the derived text (i.e. the musical text of the performer) are illustrated with concrete examples. These methods include
the actualization of semantic structures with the help of “semantic regulators” (tempo, dynamics, articulation), as well
as the use of different techniques of the creative transformation of the musical text when the “scheme” of the clavier
reduction is realized into “a musical score for ensemble”. The object of study is the urtext of the nineteen minuets
comprising the first part of the “Notebook for Maria Anna Mozart,” a collected volume of pieces for clavier written
for the purposes of instruction, which is very characteristic for the epoch. The pedagogical principles determining the
structure of the “Notebook” with the purpose of forming the performer’s artistic skills of musicianship (expressivity in
performance, the inner transformation of the musical text, improvisation, composition) without reference to his or her
abilities and specialization are analyzed in the article.
Keywords: ensemble performance, the primary musical text (written by the composer), the derived musical text
(the musical text of the performer), the acoustic images of musical instruments, contraction and unfolding a musical
text, collections of clavier pieces for instructive purposes.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Alekseyeva I. V. Sintaksicheskaya organizatsiya tematizma basso-ostinatnykh zhanrov v ansamblevykh sochineniyakh zapadnoyevropeyskogo barokko [The Syntactic Organization of the Basso Ostinato Genres in Compositions for Instrumental Ensembles by Western European Baroque Composers]. Problemy muzykal’noy nauki [Music Scholarship]. 2014, No. 1 (14), pp. 33–39.
3. Gordeyeva E. V. Muzykal’naya leksikografiya smyslovykh struktur v klavirnykh tekstakh J. S. Bakha:
dis. … kand. iskusstvovedeniya [Musical Lexicography of the Semantic Structures in J. S. Bach’s Clavier Urtext Scores]: Dissertation for the Degree of Candidate of Arts. Rostov-on-Don, 2010. 263 p.
4. Kats B. A. Otets svoyego syna. Iz zhizni Leopol’da Motsarta [The Father of His Son. From Leopold Mozart’s Life]. Vremena – lyudi – muzyka: Dokumental’nye istorii o muzyke i muzykantakh [Times – People – Music: Documental Stories about Music and Musicians]. Leningrad: Muzyka, 1988, pp. 53–142.
5. Kuznetsova N. M. O nekotorykh priyomakh ispolnitel’skikh preobrazovaniy klavirnogo urteksta I.S. Bakha (Na primere instruktivnykh sochineniy dlya klavira) [On Certain Techniques of Transformation in Performance of the Clavier Urtext Scores of J. S. Bach (on the Example of Instructional Compositions for Clavier)]. Problemy muzykal’noy nauki [Music Scholarship]. 2013, No. 2 (13), pp. 197–204.
6. Lutsker P. V., Susidko I. P. Motsart i yego vremya [Mozart and His Time]. Moscow: Klassika–XXI, 2008. 624 p.
7. Morein K. N. Klavirny urtekst kak ansamblevaya partitura v khudozhestvennoy kul’ture barokko [The Clavier Urtext as a Chamber Musical Score in Baroque Artistic Culture]. Problemy muzykal’noy nauki [Music Scholarship]. 2012, No. 1 (10), pp. 98–102.
8. Sitdikova F. B. Skripichny tekst v sol’nykh i ansamblevykh sochineniyakh zapadnoyevropeyskogo barokko: dis. … kand. iskusstvovedeniya [The Musical Text for the Violin in Solo and Ensemble Works by Western European Baroque Composers: Dissertation for the Degree of Candidate of Arts]. Magnitogorsk, 2012. 328 p.
9. Shaymukhametova L. N., Yusufbaeva G. R. Instruktivnye sochineniya dlya klavira v praktike obucheniya tvorcheskomu muzitsirovanoyu. Opyt rekonstruktsii starinnogo urteksta [The Instructional Compositions for Keyboard in the Practice of Teaching Creative Performance of Music. An Attempt in Reconstructing a Historical Urtext Score]. Ufa: Ufa State Institute of Arts, 1998. 114 p.
10. Shaymukhametova L. N. Migriruyushchaya intonatsionnaya formula kak fenomen muzykal’nogo myshleniya [The Migrating Intonational Formula as the Phenomenon of Musical Thinking]. Problemy muzykal’noy nauki [Music Scholarship]. 2011, No. 2 (9), pp. 18–26.
11. Mozart L. Notenbuch für Nannerl [Scores]: Piano. Herausgegeben von H. Schüngeler. Schott. 32 p.
12. Mozart W. A. Die Notenbücher der Geschwister Mozart [Scores]: Piano. Herausgegeben von W. Plath. Bärenreiter Kassel. 86 p.