1. Chapter 13 The Symphony

2. Key Terms Symphony Sonata form Exposition First theme Bridge Second group Second theme Cadence theme Development Recapitulation Coda Fragmentation Retransition Theme and variations Slow movement Minuet form Trio Rondo

3. The Symphony Originated in Classical period –Outgrowth of public concerts Large multimovement work for orchestra Each movement a distinct musical work “Pleasing variety” –Contrasting tempi, forms, themes, moods

4. Movements of the Symphony I Opening movement II Slow movement III Minuet (with trio) IV Closing movement

5. I Opening Movement Moderate to fast tempo Sonata form –Optional slow introduction Many moods possible Emphasizes contrast and development Something to make you think

6. II Slow Movement Slow tempo No standard form Often lyrical and songlike A beautiful melody

7. III Minuet and Trio Moderate tempo, triple meter Minuet form (ternary) Stylized dance Usually aristocratic in mood Something to set your foot tapping

8. IV Closing Movement Fast to very fast Usually sonata or rondo form Light, tuneful, brilliant A tune to whistle on your way out

9. Sonata Form Most important new form of Classical era New way of handling contrasts between keys and themes Three large sections –Exposition (A) –Development (B) –Recapitulation (A´)

10. Exposition (A) Presents main themes of the movement Establishes conflict between two primary keys Is usually repeated May be preceded by slow introduction

11. Elements of the Exposition First theme Bridge Second group –Second theme –Cadence theme

12. Mozart, Symphony No. 40, I First theme: stable theme in tonic key Bridge: modulates to new key

13. Mozart, Symphony No. 40, I Second group –Second theme: stable, in new key –Cadence theme

14. Development Develops themes from exposition Heightens tension Modulates frequently Retransition returns to first key

15. Mozart, Symphony No. 40, I Theme 1 developed Contrapuntal passage Fragmentation Retransition

16. Recapitulation Resolves tension Presents exposition themes in same order –But with second group in original key

17. Mozart, Symphony No. 40, I Theme 1, modulating differently Bridge, longer than before Second group—themes in tonic key Cadence theme

18. Coda Optional section following recapitulation Short or long Usually very stable, repeated cadences, big ending

19. Sonata Form Example Mozart, Symphony No. 40 in G Minor, I

20. Sonata Form Example Haydn, Symphony No. 95 in C Minor, I

21. Wolfgang Amadeus Mozart (1756–1791) Born in Salzburg to musical family Child prodigy After court position, moved to Vienna Made living from teaching and concerts Died with Requiem Mass unfinished

22. Franz Joseph Haydn (1732–1809) 30-year career with Esterhazys Kapellmeister—wrote for court, church, and opera Gained international fame with public concerts –Paris and London Symphonies Turned to choral music late in life

23. Theme and Variations Theme: a complete tune in several phrases Variations: changes to the theme on each repetition –Usually same phrase structure as theme –Creates contrasting moods from same material

24. Haydn, Symphony No. 95, II Slow movement Theme and variations form –Theme –Variation 1 –Variation 2 –Variation 3 –Coda

25. Haydn, Symphony No. 95, II Haydn writes variations within variations

26. Features of Haydn’s Theme Simple melody, regular phrases Mostly legato Major mode, stable harmonies Simple rhythms emphasize beat First violins play melody Middle to low register Simple, staccato chords

27. Haydn’s Theme

28. Features of Variation 1 Melody ornamented More staccato Feels faster Solo cello, pizzicato accompaniment Changes in register New countermelody above cello melody

29. Haydn Variations 2 and 3 What changes do you hear in these variations? Theme Variation 2 Variation 3

30. Haydn, Symphony No. 95, II How is this coda unusual? What is Haydn’s joke?

31. Minuet Form Derived from Baroque minuet and trio Classical composers extended internal forms

32. Haydn, Symphony No. 95, III Typical symphony third movement Minuet form (ternary) Aristocratic, stylized dance Triple meter, moderate tempo

33. Contrast in Haydn’s Minuet and Trio Minuet Somber, dramatic Staccato Grace notes Rhythm emphasizes beat Loud vs. soft Strings vs. full orchestra Minor mode b develops grace notes b shorter than a Trio Light, gallant Legato Arpeggios Shorter, quicker notes Mostly soft Solo cello with pizzicato strings Major mode d develops c materials d same length as c

34. Rondo Form Simple contrast and return Light, tuneful theme (A) Contrasting episodes Some possible schemes: A B A C A Coda A B A C A B A A B A C A D A

35. Haydn, Symphony No. 95, IV Typical closing movement –Fast tempo, rondo form, light and tuneful Haydn’s rondo theme (a b c phrases)

36. Features of Haydn’s Rondo Theme Simple tune based on rhythmic motives Mix of staccato and legato |: a :||: bc :| Major mode Varied, fast-moving rhythm Duple meter, fast tempo

37. Features of Haydn’s Episodes Elaborate, dramatic fugal sections Power of full orchestra Tonally unstable Occasional surprises (episode 2) Continuous motion, few cadences Fugue subject uses opening motive of rondo theme

38. Haydn’s Use of Surprise C section “storm” interrupts fugue Long retransition to last rondo statement New harmonies for rondo theme Coda interrupts rondo theme after first phrase Sharp contrasts in dynamics