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Komödie in Moll

The lyrical tone of the secondary theme can be heard as referring to the elevated characters, the innamorati:. A closing theme in B-flat minor provides a darkening turn to the minor mode, foreshadowing a gloomy end of the exposition. However, at the last minute, Joachim manages to end the exposition in B-flat major, with a brief elegant noble codetta theme:. The development begins by feigning a repetition of the exposition, but instead turns to a series of light and comical rhythms, such as the next example, from the noble codetta motive:. A trapped motive rigidly repeats itself in sequences with no hope for an exit.

Right at the moment of the recapitulation Ex. The music is searching, wandering. The last four measures of Ex. The primary theme is now altered, in pp legato triplets, no longer reinstating the light spiccato sixteenth notes of the opening. Otherwise the recapitulation is straightforward, presenting the secondary theme in G Major as well as the closing theme in the minor mode, G minor. As in the exposition, the noble theme, now in G major, turns the music to the major mode. It leads, however, to a coda, in G minor.

How did the translator Werthes deal with these weeping-instructions? Table 1, Analysis of Weeping It. Strikingly, the Italian stage instructions have many more occurrences of weeping than the German translation does.

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Yet the comparison reveals the cultural differences in the use of weeping, of which Werthes was aware. His translation catered directly to the taste of contemporary German-speaking readers Empfindsamkeit literature. See Table 1, line two. Joachim used the same motivic device in his tragic overtures, with similarly gloomy effects. It might therefore be helpful to briefly draw parallels between the motivic process of the Gozzi overture and to the Hamlet Overture, as well as to a String Quartet movement in C minor.

In the Gozzi overture the surface rhythm first appears in sixteenth notes before slowing down to triplets Ex. Concurrently, the instruction perdendosi lets the music almost die.

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In the Hamlet Overture, on the other hand, the motivic process occurs briefly before the coda. Both instances are marked perdendosi It. Joachim composed a similar passage in a string quartet movement and sent the movement to Brahms. By evoking a tragic overture from his past, Joachim, in effect, channeled some of the tone of that work into his Gozzi overture.

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Let us end by returning to The Gozzi overture was then performed by the Meiningen orchestra, conducted by Fritz Steinbach. Search WorldCat Find items in libraries near you. Advanced Search Find a Library. Your list has reached the maximum number of items. Please create a new list with a new name; move some items to a new or existing list; or delete some items.

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