Alex Linser

MucT 6140
Dr. Decker
Analysis of Mozart, K. 332 Movement 1 Allegro

Overview

Mozart's K.332 contains many conventional features of the Classical sonata form. In viewing

the movement through the eyes of Caplin we can find many concepts discussed in Analyzing Classical

Form: theme-types, hybrid theme-types, pre-core/core technique, etc. In my opinion, viewing the piece

through the eyes of Hepokoski/Darcy, yields us a somewhat more vague and general analysis.

Caplin-based Analysis

The piece begins with the exposition in F major and presents us with the main theme. The main

theme has the structure of a hybrid theme type, antecedent + continuation. In measure 4 we can observe

a HC that confirms the antecedent before moving on to the continuation. The continuation features

quicker surface activity and closes with a PAC. Following the main theme we have main theme 2. MT2

follows conventional period structure and contains an IAC at the end of the antecedent (mm. 16), while

the consequent closes with the standard PAC. Ending this main theme group is a closing section with 2

short codettas.

This brings us to the transition of the exposition where we can observe a modulation to the

submediant, d-minor. The beginning of the transition has the form of a hybrid theme type, CBI +

consequent. The consequent abandons the expected cadence to d-minor in mm. 31. Following the

abandoned cadence, there is a 2 measure model that is sequenced through the tonal areas of c-minor

and Ab major before providing us with a Ger+6 chord to lead us back to the dominant. There is a brief

passage of 4 measures of standing on the dominant before we encounter the medial caesura that marks

the beginning of the subordinate theme.

Rather than a singular subordinate theme this particular movement contains multiple

subordinate themes, making it a subordinate theme group. The first subordinate theme is a compound
period and features an antecedent comprised of a CBI + continuation. The continuation of the

antecedent confirms the compound theme type by giving us a HC in mm. 48. The compound

consequent that follows has the same structure of the compound antecedent and is closed with a PAC in

mm. 56. Before continuing on to the next subordinate theme there is a brief sequential passage of

descending fifths. The sequence explores the tonal areas of: G c-minor f-minor Bb Eb

Ab d-minor G Ger+6. After this sequence there is a 4 measure phrase of standing on the

dominant that emphasizes the tonality of G so that we may be lead back to C for the second subordinate

theme. The second subordinate theme begins at mm. 71 and is another compound period. The

antecedent is structured as a presentation + compressed continuation. At the end of the compound

antecedent we can observe an IAC before the compound consequent. The compound consequent is

much like the compound antecedent except that the closing features a deviation. Instead of a PAC we

get an IAC in mm. 82. New material then follows the IAC to lead us back to the expected PAC.

Following the PAC we have a series of codettas beginning with a pick-up to measure 87.

The development begins with what Caplin described as a pre-core. This particular pre-core

takes the form of a compound period. The antecedent is comprised of a presentation phrase +

continuation, the consequent follows suit and ends with a PAC in mm. 109. The core then begins with a

4 measure long model in mm. 110 that emphasizes dominant-tonic, (G c). The 4 measure model is

then followed by 2 measure long fragments that alternate between, half step relations of minor and

diminished 7th chords, and, dominant 7th chords and their respective tonics. A final g# diminished triad

leads us into the re-transition that features the tonal areas of A-major and a-minor before leading us

back to C7 so that the recapitulation may begin smoothly in F.

The recapitulation begins just as the exposition did with the main theme and features the same

theme-type. We do not witness much structural change within this recapitulation until the transition.

The transition begins much like it did in the exposition except it must retain its home-key tonality of F.

Structure of the theme-types is also largely the same, although there is one exception; the transition in
the recapitulation gains a 2 measure long extension before we observe a similar sequential passage to

that in the exposition. A 4 measure long passage of standing on the dominant leads once again, into a

medial caesura. The first subordinate theme in the recapitulation has been modified from C major so

that we may remain in the home-key of F major. The theme types seen in the subordinate themes of the

exposition are the same that we see here in the recapitulation. After the first subordinate theme we see

the same descending fifth pattern observed in the exposition, except modified, to remain in F major. A

standing on the dominant then leads us to the second subordinate theme. The final subordinate theme

is quite conventional and closes similarly to the final subordinate theme of the exposition except this

time emphasizing home-key tonality.

Hepokoski/Darcy-based Analysis

The first movement begins with what Hepokoski/Darcy call a two-part exposition. This two-

part exposition begins with P-space and establishes the main themes of the movement. The transition

then takes us up to the medial caesura which is emphasized by a V:HC. This HC is what

Hepokoski/Darcy have deemed as a first-level default since it appears the most often within the

classical repertoire.

Following the medial caesura we enter the second part of this two-part exposition and can

observe what is known as S-space. This S-space consists of one subordinate theme in Caplinian terms

and concludes with a PAC in mm. 56, otherwise known as the EEC. Since Hepokoski/Darcy do not

allow for multiple subordinate themes in S-space we must move on to what is known as C-space. C-

space begins following the EEC, and in this instance there are multiple closing phrases so there are

multiple C-phrases. C1 begins in mm. 57 with a sequence of descending fifths and continues until mm.

71. Measure 71 begins C2 and continues until mm. 86. A final C-phrase ends with exposition with a

PAC before beginning the development.

Hepokoski/Darcy state that the development is often P or TR dominated but in this example I

cannot find a strong enough justification for a label either way.

 The development takes us into the recapitulation so that we are once again in P-space. The

recapitulation largely follows the example set forth by the exposition so the previous structure of P-

space, TR-space, and medial caesuras remain intact. The exception lies within S-space where instead of

an EEC we re-label it to an ESC because we recognize that the movement is coming to a close.

Following this ESC we observe C-space where we have C1 and C2 before concluding with a coda.

Concluding Thoughts

In my opinion I believe analyzing the movement utilizing the concepts set forth by Caplin

yields us a more detailed understanding of the piece. Within his concepts we are able to identify the

small building blocks that comprise the themes. In identifying these components we are able to better

understand the piece on a structural level, which in turn, I believe allows a more nuanced performance

to take place.

Hepokoski/Darcy gives a good outline of the piece on a large level but I think it leaves out

crucial elements. Their model does not allow for the outline of the smaller parts that comprise their

macro-oriented phrases. We cannot see the multiple main themes that P-space consists of or the

multiple subordinate themes that occur in C-space. Furthermore, I find that labeling the subordinate

themes that occur after the EEC inaccurate. It is my belief that closing material should be brief and

provide an energetic push to the ends of phrases. In the Hepokoski/Darcy model I find that you may be

often left with an unusually large amount of C-space and it is my belief that labeling this under S-space

would be a more accurate description.