Class 12 presentation 2011 - Mozart, Piano Sonata in C...

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Unformatted text preview: Mozart, Piano Sonata in C major, K. 545, third movement (1788) Brahms, String Sextet in G major, op. 36, first movement (1866) music. Or put another way, it highlights only what Locatelli has in common with RimskyKorsakov. Walther, following the lead of Andreas Werckmeister (1645–1706),3 looked at clausulae more melodically, as was then the norm. For him, each of the four voices performed its own clausula, participating as an integral part in the “perfection” of the whole. The soprano performed the discant clausula, the alto performed the alto clausula, the tenor performed the tenor clausula, and the bass performed the bass clausula:4 e x . 1 1. 2 2 &2 2 ?2 A version of Walther’s four melodic clausulae XXE w E. w X E. E w w E X Soprano Tenor Bass Al t o w w w w w Any of these melodic clausulae could appear in the bass voice or part. Walther reserved the term clausula perfectissima for cadences where the normal bass performed the bass clausula ( – ). If the discant clausula ( – ) was performed by the lowest voice, he named the resulting cadence a clausula cantizans (“a cantus- or soprano-like clausula”); if the tenor clausula ( – ) appeared in the lowest voice, he named the resulting cadence a clausula tenorizans (“a tenor-like clausula”); and if the alto clausula ( – ) was played by the lowest voice, he named the resulting cadence a clausula altizans (“an alto-like clausula”). Walther’s treatise was, after all, written in the era of figured bass and partimenti. It drew attention to specific patterns in the bass that could help a young accompanist recognize the Gjerdingen, Music in the Galant Style, 140 (after Johann Gottfried Walther, friend of J. S. Bach) ...
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