1. AoS 1: Classical Music 1600-1899 The Classical Era (c. 1750 – 1830) Set work 2: W.A. Mozart: 1 st movement from Symphony No. 40 in G minor

2. The usual classical orchestra Larger than a Baroque orchestra Larger string section (More players) More woodwind instruments (often pairs) Often has 2 trumpets and 2 timpani drums The orchestra would probably been about 30-40 players altogether depending on the size of the string section.

3. Mozart’s Orchestra for ‘Symphony No. 40 in G minor’ Violins 1 (8 players) Violins 2 (6 players) Violas (4 players) ‘Cellos(4 players) Basses(2 players) 1 flute 2 oboes 2 clarinets 2 bassoons 2 horns BUT there are no trumpets or timpani in this piece.

4. Features of the classical style Graceful melody lines Regular phrases, often of 8 bars (4 + 4) - This is called Periodic phrasing The Melody dominates the texture Functional harmony; cadences important Musical structures have a sense of symmetry and balance Contrasts in keys, melodies and dynamics Standard orchestra

5. Symphony A large – scale piece for orchestra Usually in 4 movements 1 st movement – Fast tempo – Sonata form structure 2 nd mvt.Slower tempo 3 rd mvt.Minuet and Trio structure 4 th mvt.Fast tempo

6. General Points for 1 st mvt of Symphony No. 40 by Mozart Tempo -The 1 st movement is marked molto allegro (very fast). It is so fast that the music has a feeling of ‘two in a bar’ Time signature - The 1 st movement is in 4/4 time Key signature - The home key is G minor Dynamics – The piece begins quietly – this is unusual for the time. The volume of the music changes dramatically throughout. Structure – the movement is in sonata form Instruments – usual classical orchestra but no trumpets or timpani

7. Structure - Sonata Form Symphony No.40 in G minor: 1 st Mov – W. A. Mozart 1. Exposition Bars 1-100 (REPEATED) 2. Development Bars 101-164 3. Recapitulation Bars 164-299 1 st Subject Bridge Passage 2 nd Subject Codetta B 1 – 20 B20-44 B 44 – 72B 73-100 Key: G minor moving toward B  major (tonic) (relative major) The music of the development section is based entirely on the opening figure of the 1 st subject. The music moves through various keys before finishing on the dominant 7 th chord ( D7) leading back to.... Not just a direct repeat of the exposition. The bridge passage is extended and the coda is far more developed. 1 st Subject Bridge Passage 2 nd Subject Codetta B 164-184B184-227 B 227-260B 260-299 Key: G minor....staying in....... G minor (tonic) 2 nd Subject Codetta B 44 – 72 B 73-100 B  major (relative major) 2 nd Subject Codetta B 227-260B 260-299 G minor (tonic)