K. 5, Minuet in F Major

K. 5, Minuet in F Major

Ok.  Another opportunity to illustrate why my blog is call ‘tone-deaf troglodyte.’  So I noticed that many of his earlier works are all Minuets in F major.  First, I’m trying to hear if I can figure out what makes a minuet, a minuet.  Until this one, I thought maybe I had it figured out, because all the other ones had a similar feel to them.  K. 5 has a brisker pace.  Of course, I have looked up the definition, but even then it defines a minuet with terms I am still unable to grasp.  However, I know tempo is a large part of what differentiates a minuet, from an allegro, from an adagio, etc. Maybe with practice and work, I’ll be able to recognize one from the other. 

The next part, I think I can recognize by ear—but don’t understand—is the difference between minor and major.  I had a musician friend explain it to me one time.  He said majors tend to be happier, lighter tunes.  Minors are darker, sadder ones.  I can usually hear that.  But, the denotative elements with semitones and intervals confuse me.  Again, I don’t play or read music.  And, what was up with young Mozart liking F major?  There's probably a music reason for it that escapes me.  

Yet considering all my non-understanding, there is hope that my tone-deafness is fading. Listening to the classical station, I turned it on the radio to a song that I had never heard.  After some listening, I said, ‘This has to be Mozart.’  I had confidence.  I knew it to be so.  And, I was right.  It was his Symphony No. 35.  Needless to say—but I’m saying it anyway—I was proud of myself.  

K. 4, Minuet in F Major

K. 4, Minuet in F Major

So as I sit here, I wonder how am I going to write about each of these early pieces and have something different to say.  I could have lumped K. 1-5 in one blog, but I’m not sure that would have done the pieces justice.  The goal of my trying a mostly chronological method is to see if my tone-deaf ears can hear places of new innovation.  Of course, I still plan on throwing a variation in from time-to-time.  Otherwise, the posts could grow dull (if they are not already for most folks).

Again, K. 4 is a pleasant song with some of the same tender tunes of K. 2.  As I listened, I thought of my time stationed in Germany.  If only I had been a fan of Mozart then.  I was in the southeastern part, not horribly far from Salzburg (or Vienna).  It would have been nice to see Mozart’s Memorials. 

When we look at historical sights, often we do not realize the significance of the places until they but are memories.  For example, while in Germany, I went took a tour of Flossenburg Concentration Camp.  The guide told us that Dietrich Bonheoffer died there.  I didn’t know who he was at the time (nor was I too concerned).  Now, however, I am quite familiar with the man and his accomplishment.  If only I had realized…  Would I have absorbed the experience differently?  

If Mozart only had realized his experiences differently, how might we know him today?  Would he have lived longer and been undeniably, the greatest composer.  Or, was it his outlook on life that created such powerful music?

K.2, Minuet in F Major

K.2 Minuet in F Major

Back to a chronological standard...

What would young Mozart have been thinking as he composed this song?  How can I have any idea?  I think of my four-year-old son.  If he had the ability to write, what would he say?  At that age, there is such a strong affection toward parents, (unfortunately or fortunately) regardless of their parenting skills.  ‘Look at me.’  ‘Talk to me.’   ‘Read to me.’ ‘Play with me.’  These desires drew Mozart to music.  The attentions of his father.   This Minuet in F Major proclaim the tender affections of a child receiving attention from his father.   I can imagine Leopold sitting beside his young son, tears and a smile, jotting Minuet in F into the music book.  An innocent tune for an innocent time. 

Then I ask, 'Am I giving either of my sons reasons to write such music?'