On Phrasing in Mozart | Horn Matters | A French Horn and Brass d Bruce Hembd | Horn Matters - French Horn and

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On Phrasing in Mozart
by Bruce Hembd - Sep 24, 2009

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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 v
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 per

The rule of three

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A number of the themes in the Mozart horn concertos may be divided into three subsets. I prefer this appro
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 locati
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

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In the exposition of the K. 495 concerto, the primary theme is much longer than in the previous concertos. E
clear sections:

Even though the subsets in this example are equal in measure length, there is a tangible aural symmetry; tw
fleeting technical flourish.

Beyond pointing out these sets of three, I offer little more. I do not propose to elevate one interpretation ov

interpretation versus a more historically informed performance, for example. I only wish to suggest that th
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 profou
already covered. Think of it as being more nostalgic, or bold, or sad whatever seems most appropriate to y

Shaping it differently in any case, with a contrasting dynamic or articulation or perhaps even both, can help
emotive interpretation. Myself, I like to add an ornamental turn in the 14th measure of the example above.
From K. 447:

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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.

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Bruce Hembd

BRUCE HEMBD is a web developer by day who plays French horn professionally at night. Article

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2 Comments

4/25/16, 12:53 AM

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Travis

6 years ago

Ok, call me OCD. But one of these excerpts is not like the other ones. K.412 shows the key signature
part. And a G# accidental (which would be unnecessary if the key signature were A, which it should
part). Right? Or have I confused myself into another transposition induced roundabout of confusion?

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Bruce Hembd

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> Travis 6 years ago

Aha - my fault for not making the transpositions clear. Some are in F others in E-flat. That'll te
looking. :-/

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