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Klarinet Archive - Posting 000455.txt from 2000/09

From: "Michael Bryant" <>
Subj: Re: [kl] Beginning and ending on the tonic
Date: Wed, 13 Sep 2000 11:16:39 -0400

Aren't I wicked?! Absolutely and relatively. Sorry folks.

The juxtaposition of the keys of Eb and A is interesting in
Il Sogno di Scipione K 126 1772
Lucia Silla K 135 1772
La Finta Giardiniera K 196 1774
Il Re pastore K 208 1775
Zaiede K 344 1780
Idomeneo K 366 1781
Die Entfuehrung... K 384 1782
L'Oca del Cairo K 422 1783
La Clemeza di Tito K 621 1791

Handel is another case
Sosarme begins in A ends in F
Joshua begins in Bb ends in D

Carl Nielsen's Symphonies
#1 begins in C ends in C
#2 begins in Bm ends in A major
#3 begins in Am ends in A major
#4 begins in A (?) ends in E
#5 begins in Am ends in Eb
#6 begins in G ends in Bb

Mathis der Mahler (suite)
begins in G ends in Db

2nd Symphony
Begins in Cm ends in Eb
7th Symphony
Begins in Bm (?) ends in C

(?)= ambiguous


Daniel Leeson quite rightly wrote/13 September 2000 15:44/Beginning and
ending on the tonic

>FOUL, Michael!!! (which is quite different from FOUL Michael!!!): Both
>L'Oca del Cairo and Lo sposo deluso are fragmentary operas that were
>never completed and, therefore, cannot even be considered for a
>beginning/ending key analysis. How do you know what key he would have
>ended the pieces in had he finished them, and how do you know that the
>extant scenes would have been the first ones had he finished them?
>Michael Bryant wrote:
>> Three operas by Mozart do not close
>> tonally, where they begin: They are:
>> Apollo et Hyacinthus K 38 1766
>> Mozart was 10; probably not
>> structurally or historically significant.
>> L'Oca del Cairo K 422 1783
>> Lo Sposo Deluso K 430 1783
>> MB
>** Dan Leeson **
>** **
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