ESTHER CAVETT-DUNSBY

The scope of these investigations needs now to b

consider two further aspects of Mozart's codas K
codas are 'likely' to echo the beginning of the d
technique is not quite what he makes it appear A
is frequently a thematic outgrowth of the end of the
recapitulation, whether or not it is followed by a fo
the beginning of the development (In the piano sona
half of the first-movement sonata forms without f
the development in a formal coda - which in theory,
repeat of the second part of the movement - of
ambiguity In the first movement of the F major Qu
the echo seems at first like another development of t
turns out to be its liquidation (compare bs 185ff wit
Kerman also asserts that those codas which are not
subsidiary to the rest of the movement' are 'nearly
special technical concern: formal counterpoint' (: 142
Jupiter Symphony finale and the first movement o
fails to make it clear that the counterpoint in t
counterpoint earlier in the movement The counterp
Hunt Quartet's coda grows out of the opening bars o
accompanimental instruments sometimes shadow the
sometimes add contrapuntal details, culled from the
finale has a contrapuntal texture from the start
contain an explicit 'textural reference'; and counterp
in the first-movement codas of the C minor Pian
major Piano Quartet, K 493, and in the finale codas o
String Quartets, K 387 and K 464 In the C m
counterpoint, based on the first subject, recalls the
first subject at the end of the exposition, as well as t
new transition to the second subject in the recapitu
Quartet, it is the head motive of the second subject
and this same motive has been contrapuntally co
section Like the finale of the Jupiter, the G major
are themselves contrapuntal
Despite the importance of counterpoint, other k
likely to return in Mozart's codas The quaver trip
coda of the Bb major String Quintet, K 174, are
triplets which spread almost throughout the develop
all instruments which end the first movement of
K 173, are the last of many octave settings of t
example of textural reference is in evidence in the fi
minor Piano Quartet, K 478 The coda begins with a r
of the first subject, whose octaves reappear from ti
movement The strings then cling to these octaves, i
subject (revealing its connection with the second sub

44 MUSIC ANALYSIS 7:1, 1988

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 MOZART S CODAS

bs 243-4 with bs 196-7), whilst the piano gives in to what

'tendency of the smallest notes' (1970: 27)
My final examples illustrate a technique in Mozart's cod
to the effect of 'resolution', even in those codas which
something more' This technique can be called 'registr
apparent in the coda of the G minor String Quintet (Ex 2
bb heard twelve bars before the beginning of the for
shown on the example) is not picked up again until b
from the voice exchange mentioned earlier The a2 resolve
following bar, but g2 appears again in the final bar of th
completion' in this movement thus binds together the en
the formal coda and the structural coda; and therefo
direction' is kept alive beyond the close of the Fundamen
final chord There is another example of registral com
movement of the C major Quartet, K 465 The first violin
time at the end of the development (b 154) In bs 200-19 t
two two-bar segments in order to reintroduce g3 (compar
bs 82 and 98) In the second of these two-bar segments g3
register But the coda contains a larger-scale resolution co
descents from f3 to c3, the second more decorated than t
In Free Composition Schenker was concerned more with
the obligatory register than with explaining large-scal
notes above that register Nevertheless, his reference
'boundary tones' ( Fig 75; p 104) - and, even more sig
organic structure in sonata form, where he refers to a m
several different octaves in the first movement of Bee
(Schenker 1977: 48-50) - show that he was well aware
obligatory register did not account for all important
function Ernst Oster, in his article 'Register and the L
goes so far as to say that Schenker's essay on the Beethov
register can become 'one of the main elements of com
footing with harmony, counterpoint and thematic dev
55) Yet neither Schenker nor Oster discusses large-sc
connections, which are of particular interest when th
octave descent of the Fundamental Line - as happens in
and the C major Quartet
Registral completion is more a rule than an exceptio
And, in the rare cases where a high note is left dangling,
resolved towards the end of a subsequent movement, as w
Piano Quartet (Ex 11) Although the first-movement
opening of the first subject, the resemblance does not las
the coda preserves the rhythm and the dominant chord f
bar of the exposition, but the eb 3 in the piano (see Ex 1
before This e 3, which hovered over much of the fir
resolved by step in its own register in the rest of the coda

MUSIC ANALYSIS 7:1, 1988 45

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