![]() ![]() Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Indications referring to character appear: Menuetto-galante, Menuetto Maestoso On conclusion, the initial simplicity of the phrase and harmony allowed a series of innovations required by the aesthetics of the Rococo: harmonic and tonal contrasts, the infiltration of new ternary styles and the counterpoint writing.īeethoven’s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. The aspects of the tempo are: implied tempo, Tempo di Menuetto, Moderato, Allegretto or Allegro. Regarding the affectus of Mozart’s minuet we ascertain the following: the minuet appears as an independent piece or as part of a cycle. Mozart will dedicate the Simfonie Menuett K.409 in C major to this dance (1782). The number of minuets in Mozart’s symphonic works is remarkable: almost thirty of his symphonies have a minuet in the third part. In Mozart’s work the minuet can be found in the symphonic genre, in concerts, in opera and in the chamber music. Domenico Scarlatti for example, ends his opera overtures with a movement called „Tempo di menuetto” (in Narciso) using the binary form made up of two eight measure periods. The minuet was probably the first dance included in the Italian symphonies in the beginning of the 18th century. Following the historical evolution of the chamber genre, we notice the interest of the composers in adopting the minuet within the cycle and adapting it to a certain period or style. Wolfgang Amadeus Mozart (1756-1791) composed his first minuet to his parents on 16 December 1761, before he was 5 years old. Indications referring to character appear: Menuetto-galante, Menuetto Maestoso On conclusion, the initial SUMMARY. Regarding the affectus of Mozart's minuet we ascertain the following: the minuet appears as an independent piece or as part of a cycle. The number of minuets in Mozart's symphonic works is remarkable: almost thirty of his symphonies have a minuet in the third part. In Mozart's work the minuet can be found in the symphonic genre, in concerts, in opera and in the chamber music. Domenico Scarlatti for example, ends his opera overtures with a movement called " Tempo di menuetto " (in Narciso) using the binary form made up of two eight measure periods. The minuet was probably the first dance included in the Italian symphonies in the beginning of the 18 th century. ![]() 3) and its overt disappearance from the genre provide a convenient platform for approaching this issue. The use of the minuet in the string quartets of Beethoven (Op. The second half of the paper tackles the problem of the minuet’s ultimate dissolution and disappearance from instrumental literature, posing possible reasons for its decline. One could argue that, at some point, the term “minuet” lost its original association with the dance form altogether and was usurped by the scherzo. The first half of this paper traces the development of the minuet, its rise to popularity, and eventual assimilation into larger instrumental forms. This semantic discursion, like many musical terms from the pre-metronome era, must be met with a critical eye when applied to performance practice. As a result, many shades of meaning affiliated themselves with the word “minuet,” depending upon the context of its use. Composers used the minuet’s form, rhythm, and compositional elements in string quartets, symphonies, and even opera. The minuet craze of the 18th century contributed to an appropriation of its musical style by many genres other than dance. ![]()
0 Comments
Leave a Reply. |