If Mozart’s mental ‘archive’ was somehow sorted by keys, it is natural to ask whether he would tend to use similar material in the same key over and over again.
This hypothesis was put forward by Wilhelm Gloede in 1993 in his article “Motivstruktur und Tonart bei Mozart” (“Motif structure and key in Mozart’s music”, 50/1, pp. Gloede observes a correlation between five melodic structures in Mozart’s music and five corresponding keys.
When coming to compose a new piece in a given key, Mozart would obviously draw on his memory to supply him with ideas.
An intriguing question is whether one should expect concrete relations between key and musical structure to emerge in the works of just any composer in possession of absolute pitch and a strong musical memory, further, whether such relations should be deemed impossible in composers without these skills.
More concretely, Mozart’s employment of key dependent structural elements should ultimately be considered within a broader perspective of the First Viennese School before the phenomenon could be evaluated properly.
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