On Phrasing in Mozart

Clues to look for in plotting an interpretation.

In planning out a performance of a Mozart horn concerto, some theoretical knowledge of musical forms is very helpful. All of the first movements in fact, adhere to the Sonata-Allegro form and all the finale movements are in rondo form.

Beyond this, analyzing some of the themes themselves might shed even more light into how to shape a performance.

The rule of three

A number of the themes in the Mozart horn concertos may be divided into three subsets. I prefer this approach over seeing every theme merely as an 8-bar melody divided into two or four measure chunks.

For example from K. 447:

There is a nice symmetry to this kind of division: two short phrases, followed by one long phrase. The location of the rests too, support this notion of a “rule of three.”

Another example from K. 447:

From K. 412 the three parts are not as clearly defined by rests, but nevertheless the rule of three may still be applied:

In the exposition of the K. 495 concerto, the primary theme is much longer than in the previous concertos. Even so, it also divides into three clear sections:

Even though the subsets in this example are equal in measure length, there is a tangible aural symmetry; two legato phrases followed by a fleeting technical flourish.

Beyond pointing out these sets of three, I offer little more. I do not propose to elevate one interpretation over another — a romantic interpretation versus a more “historically informed” performance, for example. I only wish to suggest that the performer shape and color these phrase sets in a manner that fits into their view of the larger picture.

A rule of two

Another common device in the Mozart horn concertos is the use of phrase repetition. From K. 495:

The second phrase may be seen in a variety of ways: as an afterthought or an echo; or as a deep and profound contemplation of ground already covered. Think of it as being more nostalgic, or bold, or sad — whatever seems most appropriate to your tastes.

Shaping it differently in any case, with a contrasting dynamic or articulation or perhaps even both, can help to bring out a more profound and emotive interpretation. Myself, I like to add an ornamental turn in the 14th measure of the example above.

From K. 447:

It may not be a bad idea to have fun with the repeated phrase, adding a little variety.

Another from 495:

Other resources:

• http://hornplayer.net/archive/a167.html
• http://hornplayer.net/archive/a153.html
• “Historically Informed” Performance: Who Says and Why It Must Be So?

Next in this series – a  few thoughts on cadenzas.