The critical literature on composers and their work is often
distinguished by as much unsupported speculation as fact - Mozart is no exception to this and it is particularly in the realm of the significance and influence of key in his work that such a tradition of writing has evolved. The key of G minor has received most attention in this respect.
However interesting, subjective interpretation ultimately
reveals more about the speculator than the object of speculation; and although usually ventured sincerely it is, in terms of the music itself, of little value from an epistemological standpoint.
This study attempts to consider musical aspects of Mozart's
G minor, and aims to counter, or at least balance, the subjective interpretations which have obscured this repertory by adopting a more objective and empirical viewpoint. To this end, the G minor music will be studied in terms of several structural and compositional features common to a representative number of pieces - These include the Piano Quartet K. 478, the String Quintet K. 516 and the Symphony K-550, a number of operatic arias, and lesser-known works and movements in G minor. The inquiry is conducted within the general theoretical framework of Schenker's analytical methods.
With respect to certain of these characteristics, a provisional evaluation of their predominance or exclusivity is attempted on the basis of comparisons with a representative group of movements in other minor keys.
It is concluded that in his last decade Mozart was moving
toward a limited, although increasing, stylistic definition of G minor.