The 19 Minuets by Leopold Mozart as an Example of the 18th Century School of Chamber Music Performance

Margarita A. Gareyeva


This article examines the established laws of construction of the primary musical text (i. e. the musical score as written
by the composer) from the first half of the 18th century, notated for clavier, but possessing attributes of chamber music,
which are expressed by various semantic structures (stable intonations and dialogic models). The methods of creating
the derived text (i.e. the musical text of the performer) are illustrated with concrete examples. These methods include
the actualization of semantic structures with the help of “semantic regulators” (tempo, dynamics, articulation), as well
as the use of different techniques of the creative transformation of the musical text when the “scheme” of the clavier
reduction is realized into “a musical score for ensemble”. The object of study is the urtext of the nineteen minuets
comprising the first part of the “Notebook for Maria Anna Mozart,” a collected volume of pieces for clavier written
for the purposes of instruction, which is very characteristic for the epoch. The pedagogical principles determining the
structure of the “Notebook” with the purpose of forming the performer’s artistic skills of musicianship (expressivity in
performance, the inner transformation of the musical text, improvisation, composition) without reference to his or her
abilities and specialization are analyzed in the article.

Keywords: ensemble performance, the primary musical text (written by the composer), the derived musical text
(the musical text of the performer), the acoustic images of musical instruments, contraction and unfolding a musical
text, collections of clavier pieces for instructive purposes.

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