Strauss, Die Fledermaus, n2 Trio

The second musical number in Die Fledermaus is a trio for Rosalinde, Eisenstein, and Blind. It opens with a comic Allegro in 2/4: Eisenstein is about to be jailed for insulting an official, and he berates his lawyer (Blind) for failing to defend him. Eisenstein's wife Rosalinde finally intervenes, telling Blind that he ought to leave. This is the first occasion for a rising cadence gesture, quite emphatic even if the harmonic rug is pulled out from under it in the final chord:

In the introductory post to this series, I wrote that, for each number in Fledermaus, I would ask the question "Why does an ascending melodic figure dominate the cadence(s) and not the clichéd falling version inherited from 18th century practice?" In this case, (1) the focus on the upper edge of the register in the main phrase (bars 1-5 above); (2) the repetitions of the pick-up chromatic ascending figure (bars 9-12), which invite continuation in the same direction (bars 12-13); (3) the more and more peremptory "hinaus" (get out!) (bars 12-13); (4) the exaggerated melodramatic humor in the subverted tonic at the end, as Rosalinde hits and holds her high note.

Rosalinde and Eisenstein discuss the situation (Andante mosso, in the style of accompanied recitative) but then Blind returns and the comic Allegro resumes, shortly turning into catalogue patter as Blind lists all his legal skills (un poco agitato). The music builds in energy till it explodes in a Vivace finale with the three singing over each other. The figure—in Rosalinde's part—is a mirror line from ^8 down to ^5 and back again, here with a dramatic superimposed ^9.

The Vivace is a typical operatic ensemble close, whose simple harmonic progressions and repetitious figures are similar to "one more time" passages in Classical-period instrumental codas. After waltzes and polkas, these ensemble endings are the most frequent source of rising cadence gestures in 19th century music.