Analyzing Interpretation Elements in Mozart's Flute

Concerto in D Major K.314

(I) Azin Movahed, D.M.A, (II) Mitra Jahandideh
(I, II) School of Performing Arts and Music, College of Fine Arts, University of Tehran, Tehran,
Iran
1. Introduction
The word “interpretation” means explanation, clarification and elucidation.
Taking this into consideration, we could deduce that notation cannot be
motivic idea can be used for different purposes, for example creating a transition to
interpreted through sound by the use of lexical, historical and theoretical
the next section or phrase.
knowledge. Music, like other languages, has its own– but not absolute –
grammar and rules. In this regard, this paper will try to present the basic
layers of interpretation in the performance of western classical music by
3.Principles of Aesthetics
focusing on Mozart flute concerto in D major (k314). These layers include 3.1 Influenced by Empfindsamerstil during the Rococo, Mozartian phrases
Principles of Structure, Principles of Aesthetics, and Principles Energy and exemplify contrast through juxtaposing distinct but complementary affects in the
Motion. phrase.

2. Principles of Structure
Musicians must be able to analyze and classify the structure of their melodic line.
The various kinds of melodic lines include: 2.1 Harmonic melody 2.2 Polyphonic
melody and/or Scale-based melody.
Aside from tonal elements in the structure of melodies, formal elements that affect
the coherence of phrases have to be understood. Motifs, thematic ideas and
complete phrase structures are to be deduced: 2.3 Motifs and phrasing.

2.1 Harmonic Melody

Harmonic melodies are composed based on a chord; by analyzing and finding the
main notes (omitting ornaments like repeated notes, appoggiaturas, passing notes,
auxiliary notes,…), players have to catch the fundamental chord. Example 1:
Main phrase:
3.2 Development of the Mannheim school and orchestra during the Rococo
encouraged composers to take into consideration the virtuosic capabilities of
instruments and instrumentalists. Virtuosic phrases that require steady technique,
endurance, and vigor are an emblem of Mozartian aesthetics. Combined with the
growing weight of tonality during this period, virtuosic passages always emphasize
tonal and harmonic motion.

By omitting metre and rhythm, we will have:

Finally, fundamental chord is:

2.2 Polyphonic and/or Scaled-based Melody

Two, three or four melodic lines can be hidden in polyphonic melodies. Our task is to
distinguish them.
By analyzing the main line (omitting ornaments like repeated notes, appoggiaturas,
passing notes, auxiliary notes ,…), we can find scalar motifs and pedal tones.
4. Principle of Energy and Motion
4.1 Pulse and Accentuation
Performers have to understand and make a distinction between metric, structural
,and pathetic accents. Pulse creates motion in performance and should not be
mistaken for meter. In the following example, meter is in four while pulse is in two.

‫د‬

4.2 Dynamics and Melodic Inflection

2.3 Motifs and phrasing Structural and pathetic accents are influenced by the rhetorical/grammatical
The exposition of the D major Concerto includes a mixture of motifs, thematic structure of the piece and create melodic inflection by emphasizing and directing
ideas, and complete phrases. the sound forward as shown by the arrows below.
Opening phrase:

This phrase is an elaboration on the relationship between tonic and dominant.

Thematic idea:

References
1. Forte, Allen and S.E. Gilbert, “Introduction to Shenkerian Analysis”, Wwnorton, New York, 1982.
this theme consists of two distinct but complementary motif. 2. Graf, Peter-Lukas, Interpretation “How to Shape a Melodic line”, Schott, Mainz, 2000
Motivic idea: 3. Graf, Peter-Lukas, “The Singing Flute; How to Develop an Expressive Tone”, Schott, Mainz, 2003
4. Movahed, Azin, “Aesthetic Considerations in the Performance of Mozart, the Case of Mozart Flute Concerto in
D major (k 314), Honar-ha-ye-ziba, journal of fine arts, University of Tehran, Vol 17(no.3), Tehran, 2013
5. Rink, John, Analysis and(or?) performance in musical performance, a guide to understanding, edited by John
Rink, Cambridge University Press, Cambridge, 2002
6. Schenker, Heinrich, “The Art of Performance”, Translated by Irene Schreier Scott, Oxford University, 2000