2. The Development Section Bars 101-164 Based entirely on the opening figure from the first subject. That’s this bit, here!

3. Bars 101-105 Follows a single G minor chord Chromatic chord (G#- B-D-F = Diminished 7 th ) leads to a woodwind chordal and scalic descent in to F# minor (remote key) before the violins enter with the theme 1 2 3 F# Min

4. Bars 103-114 First 4 bars of the first subject are played 4 times, in octaves, in the first violins. Played as a descending sequence. Chromatic harmony (Example = Chromatic chords in the Bassoons, bars 107-114) 107

5. Bars 114-120 Bars 114-115 = V-I in E minor (modulated) Violas, cellos and Bassoons have the theme. Violins have a countermelody. This is played staccato to contrast with the legato theme. Woodwind provides chordal harmony. In Bar 118, we modulate to A minor and the melody and countermelody switch over. 118

6. Bars 120-128 Bar 120D minor Bar 122G minor Bar 124C major Bar 126F major Bar 128Bb major o See next slide for the score to show the above. o Music rises by 4 notes every time we modulate. o Constant exploration of different keys is a major feature of the development section. Pay attention, we have a bit more to do.... Hush there, Goldendoodle! They are trying to concentrate and you are very cute and distracting

7. 120122124126128

8. Bars 134-138 Repeated A in the bassoon, violas and cellos form a dominant pedal (in D minor) The repeated A’s in the violins add to the effect.

9. Bars 139-164 Texture is reduced, using the first 3 notes of the first subject as a motif. The motif is passed around the woodwind and strings, creating a dialogue effect. Various pedals are used in this passage, first by bassoons, then the horns, then the bassoons take over again until the start of the recapitulation. F pedalDominant of Bb minor G pedalDominant of C minor D pedalDominant of G minor (tonic key) Dramatically reduced texture F pedal in the bassoon Motif from First subject

10. Bars 139-164 continued... Bars 153-160 = forte passage. Powerful dialogue between upper and lower strings. Tension is provided by the dominant pedal (D) which only gets resolved at the start of the recapitulation. 1 2 3

11. And that is all for the development section. Only the recapitulation and the coda to go. We are over halfway there folks! That’s OK Mozart, I quite like this symphony and it’s innovative display of unusual harmonic tension for the time.

12. The Recapitulation Not just a direct repeat of the exposition – The bridge is extended and the coda is far more developed than would be expected..... Bars 164-184 are a direct repeat of bars 1-20 in the exposition

13. Bars 184-227: The Bridge Passage. 51 bars long this time, instead of 24! The function of the bridge section in the exposition is to modulate key between the 1 st and 2 nd subject. This is not necessary in the development as the 2 nd subject will be in the tonic key. So.... Mozart uses this opportunity to further develop the thematic material. The bridge is needed to provide structural balance to the piece as a whole – A Classical ideal.

14. Bars 184-227: The Bridge Passage cont... Bar 184-191: Theme begins as expected but almost instantly modulates to Eb major (Look for Ab’s). V-I cadence in 190-191 Bars 191-227: Tutti section. Strong forte section heard in the exposition. Theme is split between upper and lower strings in alternating passages. Unlike bar 28 in the exposition, we now have a quaver bass countermelody going against the theme.

15. Bars 184-227: The Bridge Passage cont... Bars 198-211: The parts swap over (as we have seen happen before) Music modulates through F minor (bar 198), Eb minor (bar 205), reaching the home key at bar 211. Bars 211-227 = Bars 28-43 of the exposition, except we remain in the tonic key this time. Bar 221-225: Dominant pedal (D) in cellos, horn and bassoon preparing for the second subject. Bar 226: Bar of rest for dramatic pause/anticipation.

16. Bars 227-260: The Second Subject. Starts on the tonic key. Theme is shared between the strings and woodwind (like in the exposition). Reduced texture, dynamics. Bars 241-245: Short passage modulating to Eb major with a dominant pedal in the cellos and horns. Bars 245-251: Rising one bar sequences (look at the bass). Bars 252-254: Perfect cadence (Ic – V – I). Bars 254-260 = Bars 66-72, but now in G minor (Tonic).

17. The Coda: Bars 260-299 Bar 260-276: 3-note motif from the exposition is passed between the clarinet, bassoon and flute, with 2 note motif augmented in the violas and cellos.

18. The Coda: Bars 276-299 Scalic flourish building towards the expected final cadence. ff passage is interrupted with p woodwind chords, with glimpses of the first subject in the second violins. This is then passed around the first violins, cellos, flutes, clarinets and bassoons.

19. The Coda: Bars 293-299 Final Tutti, homophonic of chords I and V. Finishes with 4 emphatic full stops (G minor chords). Last 6-bars corresponds with the last 6-bars of the exposition. IVIIIIVI I IVV

20. And that’s all Folks! Now go and listen to the whole thing, both with the score and looking at your notes. Then answer the questions on page 33 I hope you enjoyed my 40 th Symphony!

21. Keywords Chromatic Chordal Scalic Remote Key Descending sequence Chromatic Harmony Modulate Staccato Legato Semitone Countermelody Dominant Pedal Texture Motif Sequence Augmented Homophonic Tutti Pathetique