melodic motivic development in the ysmphony

in the ear;y classical symphony - melodies tended to be more ——

short and simple thank baroque

what were ealry cassical phrases contructed from

4 bar units

what were early classical phrases punctuated by

cadences

stamitz symphony in d op 3 no 2 1st movement

simple diatonic material, 2 bar phrase

 1st movement consists of a 2 bar phrase of mostly c——- rising movement

conjunct

what happens to the two bar motif in stamitz symphony in d

it repeats an octave higher

stamitz symphony in d uses a lot of ——- repetition

motivic

what is stamitz symphny an example of

style galnt writing

Boulogne de Saint-Georges’ Symphony no. 1 is a very concise and ——— symphony

economical

what type of symphony is chevalier

style galant

what type of phrasing does chevalier use

4 bar phrasing and triadic and scalic motifs

Boulogne de Saint-Georges’ Symphony no. 1 the melodies are played by

1st violin but countermelodies in vln2

Boulogne de Saint-Georges’ Symphony no. 1 1st movement subject 1 begins withe

fp tutti tonic chord which starts a 4 bar phrase with staccato triadic crotchet melody

Boulogne de Saint-Georges’ Symphony no. 1 Subject 2 is a contrasting more lyrical and conjunct melody. Both subject 1 and 2 feature ———— in their final 8 bars. 

appogiaturas

.Boulogne de Saint-Georges’ Symphony no. 1The 2nd movement features a very lyrical and delicate melody on violin I which is characterised by a dotted anacrusis followed by a falling ———- motif

semiquaver

 Boulogne de Saint-Georges’ Symphony no. 1 2nd movement The 2nd, contrasting theme features ————- before the falling figure is reversed, creating a sense of proportion and balance.

staccato semiquavers

Empfindsamer Stil (German: “sensitive style”) and Sturm und Drang were important movements in instrumental music during the mid-18th century. Composers wanted to increase the effect of their music by imbuing each theme with a  —————

well-defined, even exaggerated, expressive character. 

Haydn’s Symphony no. 26 Lamentatione is an example of a Sturm und Drang symphony. The 1st movement Dm first subject begins with a ———-and contrasts striking, dramatic leaps with repeated notes and descending scales

repeated syncopated d

what is the contrast in the second subject of the lamentationes

• f major (dminant) plainsong melody)

Mozart’s No. 38 Prague has a similar Subject 1 which begins with a ——- which takes 4½ bars to become a melody! Mozart 38 Prague 1st subject

syncopated repeated d

Composers sometimes imbued their melodies with greater significance by ———- - this is known as cyclic form

repeating them accross different movements

Haydn no. 31 Horn Signal is an early example of cyclic form as the opening horn motif returns at the end of the ———variations.

4th movemensts

Cyclic form became increasingly common from the mid-Classical period.____ demonstrates cyclic form in its use of melody as the 4 note motif from the ‘Gloria’ chant in the 1st movement recurs in the 3rd and 4th movements.

mozart no 41 jupiter

Beethoven created short motifs which were then extensively developed, for example the 4 note ‘fate motif’ from the 1st movement of his ———- which is repeated and developed extensively in the 1st movement and also heard in other movements of the work.

symphony no 5 in cm

As the focus of the symphony was motivic development, ———either based on, or inspired by, folk music were ideal themes.

simple repetitive melodies

examples of folk inspired melodies

beethoven pastoralmocement 3 scherzo

haydn 104 - based in croatian folk song

mozart 40 1st movement begins with and agitated melody in—- but has a vontrasting lyircal 2nd subject in relative major

gm

Beethoven developed the idea of motivic repetition even further, in the case of his symphony no 5 in cm the 1st movement almost entirely on - —- note motif

4

Like Beethoven, Schubert makes extensive use of melodic repetition.  There is often dramatic contrast between 1st and 2nd subjects, e.g. no. 9 ——- is a fanfare-like ——— dialogue of chordal/repeated notes played by ww, horns and trumpets and a dotted figure, played by strings and trombones.

1st subject in 1st movement , antiphonal