CHAPTER 4

ANALYSIS: PIANO SONATA IN A MINOR, K. 310,

MOVEMENT 3

The third movement of K. 310 represents what is probably the most

significant focus upon antiquarian musical construction techniques in any of the

four minor key sonata movements. The processes of this focus leads to a Baroque-

influenced monoaffective aesthetic through the application of rigorous

construction techniques built upon the V.S. staples of inversion and

combinatoriality. These processes occur not only in the melodic realm, but also in

the textural realm. To clarify, texture is taken as an invertible object, through a

process known as textural inversion.

The concept of textural inversion relates Mozart’s analogous treatment of

texture to the structured inversion of tonal content in invertible counterpoint’s

characteristic rivolgimento (or swapping of voices.) Texture becomes an object

for combinatorial manipulation. Measure-long cells of rhythm are combined to

form melodies, and the melodic themes they enliven are given in specific registers

to form the thematic content of each formal space. Upon entering a new formal

area, material may appear texturally inverted in a new key, allowing for

construction of unique material from largely the same content. Ultimately, a tour

de force presentation of all expository combinations, one after the other, is

presented with the final rotation’s (S) Space, putting this process at the forefront.

The specific process of textural inversion is created via three measure-long

rhythmic cells which are combined in different configurations to form melodies

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and accompaniment patterns, which are presented in switching registers,

accounting for almost all of the rhythmic variety of the movement. Another four

cells provide cadential articulation and inner voice support. These configurations

are presented below.

Figure 4.1: K. 310, Movement 3.

Rhythmic configurations.16

Textural inversion, expanded throughout via a pervasive Sturm und Drang

topic, characterizes the movement as a profoundly Baroque inspired

monoaffective and monotextural work. More specifically, the process of

exploring the finite combinatoriality of these textural cells and the melodies they

create is reminiscent of J.S. Bach’s explorations of fugal subject’s entrances, with

the final (S) Space presentation analogous to a stretto. This movement therefore

draws upon Baroque application of V.S. inversional combinatoriality and applies

it to high Viennese Classical form.

(Prf) Primary Theme- Rhythmic Cell 1 Above 2

The (Prf) theme of K. 310’s third movement begins with a four measure

initiating pedal point of the tonic minor, recalling the first movement’s beginning.

16
Rhythm types 4 and 5 and are reserved for cadential articulation points, with rhythm type 6 only
occurring once in the entire movement in the (Episode) section (m.155). Rhythm type 7 occurs
only four times throughout the entire work in a harmonic sequence returning to the (Prf) space of
the exposition (mm. 87-94). The first three rhythmic cells in different combinations therefore
account for nearly 230 measures of music.

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The Sturm und Drang topic will remain consistent throughout almost every

measure, and the three main rhythmic figures appear within the first four-plus-

four measures phrase. Figure 2 illustrates the primary thematic material, built

upon an A minor pedal point, which in itself has been established as V.S. staple.

Figure 4.2: K. 310, Movement 3, mm. 1-8.

Initiating pedal point and moto perpetuo texture.17

Another small-scale inverse relationship exists in the sixteen-measure

sentence statement of the (Prf) space, with the Pre-Dominant supertonic harmonies,

and accompanying melodic gestures of mm.4-5 given in opposite order in mm.

13-14, as if to create opposing gradients of tension. Figure 3 shows the initial

presentation and reversed voice exchange relationship of these measures.

Figure 4.3: K. 310, Movement 3, mm. 1-15.

Melodic and harmonic inversion.

17
Rhythmic cell 4, in the right hand of measure 4 only appears in this sentential statement of the
(Prf) space throughout the entire movement, marking only six reappearances total in 252 measures.

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 (TR) Transitional Space- Rhythmic Cell 1, 2 + 3 Above 2

A short transitional episodic section, continuing the presence of cell 1 and

3 above 2, while introducing 2 in the right hand more resolutely, occurs from

measures 20-28, consisting of an outlined F major triad and descending

suspension figures. This passage seems to suggest the formally expected

tonicization of C major. Figure 4 illustrates these rushed suspensions and the

incomplete cadential six-four motion for the impending Medial Caesura HC.

Figure 4.4: K. 310, Movement 3, mm. 21-28.

Transitional figure.

(S1) Secondary Theme- Rhythmic Cell 1 Above 2 and 1 Above 3

Mozart turns to new techniques to delineate formal areas, and darkens the

implied C key area by a turn to the parallel minor.18 The new (S1) theme is clearly

derived from the (Prf) space, but creates a new inversional interplay of tonic and

dominant, with mm. 29-32 containing three measures of tonic expansion and one

measure of dominant, and mm. 30-33 containing three measures of dominant

expansion, and one measure of tonic harmony. Figure 5 shows this relationship.

18
This turn to the parallel minor is evocative of the first movement’s Medial Caesura.

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 Figure 4.5: K. 310, Movement 3, mm. 29-35.
Harmonic inversion (S1) theme entrance.
Additional attempts to consolidate the key occur, with a C major

descending scale with a cadential six-four elided IAC. The resulting process

suggests a Fauxbourdon-based sequence, a technique with its roots in the middle

ages— centuries older than most of the V.S. features present in the work, as

Figure 6 shows.19

Figure 4.6: K. 310, Movement 3, mm. 37-44.

Fauxbourdon contrapuntal sequence and elision.
An exact repetition of the same sequence occurs, with another abortive

attempt at a PAC, this time concluded with what initially seems to be the process

of a tonicization of the D minor key area. Hatten refers to this passage of mm. 56-

59 as a “Sequential, modulatory transition to E minor for an eventual restatement

of the rondo theme” (Hatten 2004, 241). In closer focus, these four measures

19
Fauxbourdon technique itself extends as far back as Guillaume Du Fay, whose sixteenth century
compositions frequently employed identical configurations—typically with two upper voices
distanced a fourth apart, with a third voice in a lower octave at the distance of a compound sixth,
spelling out streams of what we now comprehend as first inversion triads. “Fauxbourdon,” Grove
Music Online. Oxford Music Online, accessed April 28, 2014,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/09373

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consist of J.S. Bach-like contrapuntal mirror inversion—a more direct nod to the

V.S.

Figure 4.7: K. 310, Movement 3, mm. 56-59.

Contrapuntal mirror inversion.
As a parallelism with the (S1) space’s initial imitation of melodic material

a second higher, the mirror inversion figure is repeated in the same manner,

creating a chromatic sequence which suggests E minor as a coming key area. An

A minor contrapuntal expansion leads into E minor via a 4̂ - 3̂ suspension figure

on a half cadence.

(S2) Rhythmic Cell 2 Above 1 and 3 Above 1

The following measures disrupt the form of the movement by repeating

the S1-derived theme in the dominant minor key, now with an inverted textural

relationship of rhythmic cell 2 above 1. This is the first apparent case of the

rivolgimento of textural and rhythmic inversion—S1’s top becomes bottom in S2,

and S1’s bottom becomes top in S2 (fig. 33).

Figure 4.8: K. 310, Movement 3, mm. 64-71.

S1 Space-derived theme with rhythmic cell inversion.

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 The focus upon inversion processes continues, with the presentation of the

(S1) Space’s Fauxbourdon figure now in stark E minor tonality with its rhythmic

cells also inverted. (S2) Space’s transposed material is therefore differentiated

from (S1) Space by textural inversion as well as key—LH and RH again swap

roles as in mm.64-71.

Figure 4.9: K. 310, Movement 3, mm. 64-71.

S2 Space theme with rhythmic cell inversion.

A harmonic and melodic sequential pattern, involving mirror inversion

cells and Fuxian suspensions, marks one of the densest passages in the entire

work (mm. 87-93) as the movement recaptures the A minor half cadence

necessary for a return to the (Prf) Space. Suspension chains and cells of

contrapuntal mirror inversion mark the passage as composed in the V.S.

Figure 4.10: K. 310, Movement 3, mm. 87-95.

Harmonic and melodic sequence with mirror inversion cells and
Fuxian suspension chain.

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The V.S. stylized and expanded sequence then elides into several measures of free

polyphony, resembling a fifth species model of composition as Figure 11 shows.20

Figure 4.11: K. 310, Movement 3, mm. 95-106.

Free polyphony and expanded half cadence.

(Prf) Space Restatement- Rhythmic Cell 1 Above 2 and Rhythmic Cell 1

Above 3
The (Prf) Space restatement takes the form of an exact restatement of the

primary expository material, until m. 125 where a diversion occurs to create a

closing gesture from the Fauxbourdon theme of the (S) Space. This pattern is

presented above root position triads. Figure 12 shows the relevant passage.

Figure 4.12: K. 310, Movement 3, mm. 127-142.

Root position inverted restatement of (S) space “Fauxbourdon” theme.

20
This free polyphonic treatment also serves to refocus the attention upon rhythmic cell 1 for its
return in the (Prf) space restatement, by reinforcing it in both hands before the expanded half
cadence.

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The effect created is decidedly final, in comparison to the evaded cadences of the

previous incarnation of this thematic material. The presentation of thirds in the

upper register is composed in an inverse relationship to the E minor statement,

marking that register and textural patterns have been inverted again, separating

the identities of the formal spaces.

(Episode)

The (Episode) theme is marked by its musette topic, built in another four

plus four pattern upon the V.S. staple of the pedal point, in the parallel major. In

its first half, comprising sixteen measures marked off with a repeat sign, only the

three cadential measures break away from the tonic pedal. Figure 13 shows the

Musette pattern.

Figure 4.13: K. 310, Movement 3, mm. 143-158.

Musette-style episode theme on tonic pedal.

The Musette melodic profile consists of materials again derived from other

resources of the movement, with mm. 147-150 derived from mm. 25-28 of the

(TR) material. The second ending is elided with the return of the recapitulation for

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the final rotation of the (Prf) Space, which is given again in its exact original

configuration.

(TR)- Rhythmic Cell 1 and 3 Above 2

The final rotational (TR) exists as an amalgam of the rhythmic cells of the

original transition figure (mm. 21-24) and the harmonic implication of the

modulatory section of the (S2) Space (mm. 56-59). Following a key defining

Sturm und Drang outburst, Mozart opts for a surprising substitution in the final

(S) Space rotation.

Recapitulatory (S) Space- Rhythmic Cell 2 Above 1, 1 Above 2, 1 Above 3,

and 3 Above 1

The final statement of the (S) Space contains the most compacted and

authoritative demonstration of Mozart’s textural experiment within the V.S.

inversion principle. The (S) Space is dramatically condensed, drawing on and

combining elements from both the (S1) and (S2) sections, offering alternating

variations of the three dominant rhythmic cells and the textural patterns, creating

a whirlwind tour of all of the combinations presented.

With the (S) Space’s return to dominant minor harmony in mind, it is not

surprising that the recapitulatory (S) Space again confirms the “bleak realization”

outlined by Hepokoski and Darcy’s commentary on minor mode sonatas

(Hepokoski and Darcy 2011, 313). (S2) Space is recapitulated first. For four

measures, rhythmic cell 2 above 1 appears as in its original statement of mm. 64-

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71. This relationship is immediately inverted for the second group of four

measures 207-210, as shown in Figure 14.

Figure 4.14: K. 310, Movement 3, mm. 203-210.

Imitation figure.
The tour continues, with a recapitulation of both textural statements of the

Fauxbourdon theme of the (S1) and (S2) spaces. These originally occurred dozens

of measures apart; here they are given one after the other, with only a cadence

between. Figure 15 shows the application of both inversions of the “Fauxbourdon”

theme in close recapitulation.

Figure 4.15: K. 310, Movement 3, mm. 211-225.

Cell 1 above 3 and Cell 3 above 1 “Fauxbourdon” theme of (S) Space.

Mozart effectively condenses four restatements of material into a single

combination, placing the inversion principle of the work in sharp relief. With

forward momentum driven by the compression, Mozart creates drama by

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returning to a restatement of the contrapuntal mirror inversion figure of mm. 56-

59, extending it for another measure of intensification and delay (fig. 16).

Figure 4.16: K. 310, Movement 3, mm. 226-231.

Contrapuntal mirror inversion intensification.
The Fauxbourdon theme sounds a final time, this time in breathless six-

four position chords with a more resolute statement of inversion process—

invertible counterpoint at the octave based upon the previous statement of the

theme.

Figure 4.17: K. 310, Movement 3, mm. 233-244.

Invertible counterpoint at the octave (reworking of mm. 219-222).
The final rotation of the (S) Space is a culmination of the textural inversion focus

of the movement, with the ultimate statement being presented directly before an

authoritative PAC. With the repetition of two PACs, the (ESC) of the movement

occurs at mm. 244-245.

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 Codetta

The codetta takes the form of a canonic two-measure pattern which enters

first in the right then left hand, indicating a final bow to the V.S. as shown in

Figure 18.

Figure 4.18: K. 310, Movement 3, mm. 245-252.

Codetta imitation.

This imitation ends the movement with a resolute PAC, and the only rest within

the movement that does not occur as the product of one voice entering or exiting

in a polyphonic texture. The only silence programmed into the movement comes

in the last measure, finally ending the moto perpetuo storm which has raged for

over 250 measures.

Summary

Mozart builds variation, intensification, and progression from the rotation

of the same small pool of ideas, using only the V.S. elements of inversion and

derivation of materials from a small pool of ideas. In this way, this movement

directly supports Caplin’s argument that the V.S. may be strongly implicated into

formal and structural processes within tonal music. With the typical rhythmic and

cadential cues largely suppressed, the V.S. construction of the work is directly

responsible for formal articulation.

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Table 4: K. 310, Movement 3. Summary of V.S. features.

MAJOR
FORMAL EXPANDED AND
V.S FEATURES RHYTHMIC
REGION TROPED BY
CELLS
Pedal Point
(Prf) Harmonic
Relationship
1 over 2 Sturm und Drang
Inversion
(TR) Suspension Figures 1 over 2
-
3 over 2
Harmonic
Relationship
(S1) Inversion 1 over 2
Fauxbourdon Theme Sturm und Drang
1 over 3
Mirror Inversion

(S2) Textural Inversion 2 over 1

Registral Inversion Sturm und Drang
3 over 1
Harmonic and
Melodic Sequence
Return with Mirror Inversion
Counterpoint
1,2,3,4,5, and 7 Sturm und Drang
‘Fifth Species
Counterpoint’
Pedal Point

Harmonic
(Prf) Relationship 1 over 2
Inversion
Sturm und Drang
1 over 3

Textural Inversion -
early (S)
(Episode) Pedal Point 1 over 3
Musette
3 over 3
Textural and
Registral
Inversion/Imitation
(Prf)
1 over 2 Sturm und Drang

Mirror Inversion
Counterpoint

Textural Inversion 2 over 1

1+2 and Invertible
(S ) 1 over 2
Counterpoint at the Sturm und Drang
1 over 3
Octave 3 over 1
(CODA) Canonic Imitation
- Sturm und Drang

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