However, Mozart fifths are hardly a rarity in nineteenth-century music. 96-97), the voices are conducted in such a way that, in fact, there are no 5th parallels In some of the examples cited by Tappert (inter alia The Abduction from the Serail No. 543, 1st movement, bars 167-168, bass / violin II Symphony in D major KV 504, 2nd movement, bars 25-26, bass / viola In recent literature is highlighted that such parallels of fifths occur in Mozart, but in his oeuvre are altogether a rarity. Previously, Adolf Bernhard Marx had already provided an example such as the above in a discussion of the excessive Sextakkords with the words "Mozart", but without commenting on this in more detail. In his study The Prohibition of fifhts parallels (1869) Tappert dedicates a separate section to the "Mozart Quintet".
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