MOZART EINE KLEINE NACHTMUSIK

Mozart Eine Kleine Nachtmusik

Mozart Eine Kleine Nachtmusik

Introduction

Mozart Eine Kleine Nachtmusik is Mozart's title for his Notturno or Serenade in G major for string ensemble K. 525 (1787). It was originally in five movements, of which the second, a minuet, is now lost. Although it is often performed with orchestra, it was evidently intended for performance with one player on each part.

Discussion and Analysis

This piece is divided into two large sections, the minuet and trio. The minuet is divided in two by a very dominant change in dynamics, rhythm, and density. The dynamic changes to piano, the rhythm is in constant eighth notes in the upper voices, and the density decreases. In the second section of the minuet, there is a motive that repeats from the first section. The trio on the other hand is set up in three parts. It is in the dominant key (D major). It is also at a slightly slower tempo at the beginning of the phrases (Benjamin, 2003).

From the first to the second section, there is an obvious structural division where all but one voice rests. This sets up the second part nicely. The transition between the second and third parts of the trio is done much more smoothly by using a half cadence and stepwise motion. In both of these places, dynamics play a large role in communicating the idea to the listener. Also, the third part uses the motive that begins the trio. Articulation also is used to change the mood between the minuet and the trio. It gives the sence of a dance and lifts my mood.

The minuet (or "menuetto") is in the key of G and is composed of two eight-bar phrases which are both repeated. Each phrase ends in a perfect authentic cadence, and the last four measures of each phrase are identical excepting the staccato markings in the fifth and sixth measures of the second phrase. The first eight measures are more rhythmically based on the quarter note with some eighth notes and two trills (both violins participate).

The second eight measures begin with the two violins at octaves from each other on a run of eighth notes punctuated only by three simultaneous quarter notes on the part of the viola and cello until measure 12 where the viola joins in the eighth notes and a crescendo leads back to the repitition of material and cadence. ...