CONSTRUCTIONS OF IDENTITY
The key of the second movement, Andante con moto, bears an unusual but thoroughly Schubertian relation to that of the first: it is cast in the subdominant of the parallel major, projecting the concept of modal mixture from the level of local harmonization to that of “macrostructure,” the relationships that give coherence to the whole multimovement sequence. Where the first movement had been a study in submediant relations, the second admits a much wider spectrum of third-relations to its purview. In part this is because its form is more loosely sectional, less “teleological,” than that of the first. Rather than a goal-directed sonata design, organized around a single overriding progress to closure, the movement is put together very much like the slow movement of Mozart's E♭-major Symphony, K. 543, which could very well have been its model: a slow rondo (or, alternatively, a slow minuet or Ländler with two trios) in which both episodes are based on the same melodic material but contrast radically in key, both with the framing sections and with each other.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 The Music Trance." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Mar. 2015. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002011.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 The Music Trance. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 1 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002011.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 The Music Trance." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Mar. 2015, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-002011.xml