«Quasi-scores» in piano sonatas by W. A. Mozart in the context of traditions of home music-making
The structural and semantic phenomenon of the reduced quasi-score that presents images of a playing ensemble (orchestra) as a subject of the practice of the XVIIIth century musical performance in the text of W. A. Mozart’s piano sonatas is considered in the article. With a help of semantic and historical-comparative analysis of the musical texts the attributes of quasi-score rendered graphically in the piano text are identified. Theу are semantic structures of non-clavier origin that should be actualized by means of a new instrument piano with its wide timbre-acoustical and imitation capacities. These structures include: clichés that represent sound images of musical instruments; dialogical models that reflect scenes of ensemble (orchestra) performance; quasi-ensemble (quasi-orchestral) devices that are used in the sonatas texts. The connection of the sonatas semantic content with the two traditions of home music-playing that are baroque ensemble playing and new solo piano performance is determined. Each of these two traditions is reflected in the structure of a musical text. To identify and prove the mentioned unique peculiarities of the semantic organization of piano sonatas by Mozart is considered to be necessary for providing their comprehension and proper interpretation by a player.
W. A. Mozart, piano sonata, sense structures, instrumental clichés, musical dialogues, reduced quasi-score, home music-playing.